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We shouldn't need accomplishments to feel good about ourselves. Self-esteem shouldn't be conditional.
"Calvin" (Calvin & Hobbes by Bill Watterson)
Writing Romance: Courting
Prior to the 20th century, most couples engaged in courting politics to find their partners, and there were a lot of rules about how to properly court your intended partner. So I figured I’d put out a guide to proper romancing etiquette for those setting their stories in more antiquated settings. But a lot of these courtship practices don’t work as well for same-sex relationships. So, I’ll go through some of the rules for courtship that apply to any story that wants to use courting romances, then I’ll explore ways this could work for a queer couple.
Gender Dynamics in Queer Courtships
Gender is a HUGE aspect of courtship, as the expectations of men and women were starkly different. This leaves queer couples with two choices: either conform to the gender roles, or make the roles more generalized that both parties are expected to uphold. Whichever route you take, be consistent. Not just with queer couples but heterosexual ones as well. If a lesbian barmaid can chase skirts, why can’t a heterosexual seamstress chase chaps?
If you choose to lean into gender roles and active vs passive roles in courtship, I believe it is best to leave it that the one of higher social status takes on the role of the female, as it would be uncouth for a Duke to be chasing lowly Viscounts. Those looking for a higher status husband should be the one working to win the Duke’s affections. While one could argue that the one of higher status should be the active pursuer, the thought of a queen chasing skirts simply fails to capture the regal dignity of the position when we think on it. It seems more in line with the properness and decorum of the era to have the elite have the suitors come to them.
Even if you do away with the gender roles in favor of gender equality in relationships, social status and rank would still be enough to impact the active vs passive roles. A prince looking for a spouse will always be more passive, while his knights, dukes, and counts vie for his affections. Meanwhile, a lowly Baron will almost always be in pursuit of a match. This follows the Order of Precedence, a real life rule of etiquette that states that those of lower status are the ones introduced to someone of higher status. So before a Baron can speak freely with a Prince, someone must introduce the Baron to the Prince and never the other way around. If the Baron is being introduced to a group, they will be introduced in ascending order of rank. The Baron will first be introduced to the Count, then the Duke, and then the Prince. This is why in many court scenes, someone will introduce a character to the king before they speak to one another.
But what if they’re of equal status? What happens when a prince is seeking another prince to be his husband? While they have equal titles, a prince of a tiny, less powerful kingdom is more likely be the pursuer to the prince of a bigger, wealthier kingdom. Likewise, in a relationship between two Dukes, the one who is higher in the line of succession to the crown would be the one to be pursued by the one lower down the line of succession. TL;DR: Whoever has the bigger house is the one getting pursued by suitors.
Presenting at Court
When a young gentleman or lady had come of courting and marrying age, their parents would petition to have them present at court, though people could also be recommended by other nobility. This was an effective way for some to social climb, being recommended by someone of much higher status and impeccable reputation can skyrocket their child into an advantageous position. These events would be held at the palace multiple times per year, and were invite only. The Lord Chamberlain was in charge of going over the guest list with the utmost scrutiny, and nobody would be permitted who did not have a pristine and stainless record.
Men of good social standing would present at court at formal events called Levées. They would present before the King or Prince. In the event that there were two queens or otherwise no living males of the royal family, they might present before the highest ranking male in the line of succession, or otherwise just present before the Queen. In the Victorian Era, men wore buckled shoes and swords to both a Levée and a Presentation. They had to wear either court dress or a uniform. So, if he was a soldier, he might present at court wearing his finest military dress uniform.
Presenting at court for girls were much less imaginative, only being called a Presentation. They were expected to drag long trains behind them, to bow and address the queen flawlessly, and then leave the room without fumbling over her dress or shoes. Like with the Levées for the gentlemen, these events would be held multiple times per year, and multiple girls would present on the same day, meaning that all of the girls would be compared. The better she performs, the more desirable she will be. Some men might be charmed by a little clumsiness, but it was generally seen as extremely important for a girl to make a great first impression on the court as a lady of courting and marrying age. This is also why the presentation itself is rather short. There’s a lot of girls to get through, and the queen’s a busy lady.
Someone who was already of marrying age but marries into higher status would be expected to present at court after the wedding. As a king and queen had the power to bestow titles on people at their leisure, it was not impossible for an older married woman to be made a high enough status to make her formal debut at court, and older women had different expectations when making their debut, such as styling themselves differently, and wearing different colors. Thus if, for example, a lowly washer woman saved a nobleman’s son from drowning, she might be rewarded by being recommended for a title like Lady or Baroness and being allowed to present at court. Regardless of age, the presentation mostly serves as an introduction of a new face at court to the rest of high society.
The Rules for Men
Men were encouraged not to flirt with everyone they found attractive, as being too friendly might earn them a reputation that hurts their social image. Guidelines to courtship from the Victorian Era makes it clear to young men that not every girl will be interested in his pursuit of her, and that he should take a lack of positive response to any advances as his cue to move on, lest he embarrass himself or his family.
Never allow a woman to be uncertain of your feelings and intentions. Women were permitted some leeway with acting coy, but for a man to toy with a woman’s affections was seen as improper. Once a man is aware a woman mistakes his attention for affection, he is to quickly, yet politely, lay bare his true feelings. In a similar vein, a man should never make any declaration in jest, whether expressing love or proposing marriage, any attempt to make such grand declarations as a jest does grave disservice to the woman, and will earn him great dissent and contempt from those of good breeding and high social standing. This second rule also extends to the fairer sex, and is just universally sound advice when navigating romantic entanglements.
A man must put out his cigar in the company of women, which also meant that if a woman approaches him to engage him in conversation, he must discard it, regardless of how expensive it was.
When greeting a woman in public, a man should tip his cap in a polite manner, though if she stops to talk to him, she will extend her hand to him. In this case, he must remove his hat with the hand farthest from her, and take her extended hand with the one closest to her. If they are well acquainted, he might bestow the back of her hand with a quick kiss before letting go of her hand. He would then be expected to walk with her as they converse. If he has somewhere to be or the conversation has reached a natural ending, he should politely excuse himself, and wait for her to say her farewells before he leaves her company. If he simply cannot stop to talk, he should make his urgency clear, and apologize before carrying on, still being sure to tip his hat in a show of politeness.
The Rules for Women
Accepting gifts from a suitor is dangerous. If a suitor brings you a gift and you accept it, it indicates that you are interested in their advances. Being too accepting can also cause a man to continue to shower you with gifts, which could be seen as greedy. If disinterested in the suitor, it is advised to decline his gift. However, it’s best to try and decline his gift in a courteous manner, as a calous decline will earn you a reputation for a foul temperament, which may discourage other suitors.
An unmarried woman should never be outside alone. She should always be in the company of a companion, chaperone, parent, or legal guardian. This is a means of protecting women from being set upon by unscrupulous men.
Even while courting one another, an unmarried woman should never be alone in the company of a man outside of her immediate family. This usually meant that any sort of date the pair might go on will always be supervised from afar by a parent or chaperone, such as a lady-in-waiting or a governess. The young couple would usually be left some leeway to conversate privately, so long as they were within clear eyesight of the woman’s caretakers, and close enough for them to step in should the man act dishonorably toward her.
A man will come to call upon a woman he is interested in pursuing, meaning that he will come to her house in order to pitch woo or charm her. This is to ensure she is in the safety and protection of her family, so as to prevent her from being done ill by the man where her family cannot protect her. As such, a woman would never call upon a man or go to his residence. In a queer relationship, this is simply swapped to the one of lower status coming to the house of the one of higher status. Although, due to the role of status, the suitor will require an invitation (either specific or open) to come a-courting on the object of their affections.
Women would often have a dance card which indicated who she intended to dance with at an upcoming ball. She’d save a dance for the host, and likely also her suitor. Any special guest of the ball would likely also be afforded a dance. If she has multiple suitors, she would be expected to dance with all of them, and not to spend her entire evening doting on only one of them. It was also seen as improper for her to dance too often with the same partner, regardless of whether she was looking for a spouse or not. If she was the guest of honor, it might be expected for her to share more than one dance with the host, possibly sharing the first and/or last dance with him to start or close out the night. Sometimes at dances, the guests would know the music selection and dances ahead of time, and women would have the music or dances on their dance cards. While I don’t know if it was done historically, I don’t think it would be too unorthodox for a man to write a woman ahead of a ball (assuming he’s familiar enough for such audacity) and request that she save a specific kind of dance for him. If his Waltz is shabby, but he does a marvelous Minuet, he’d want to be sure his dance with a possible match would be a dance he’s more proficient with. A lady might fill up her entire dance card ahead of time, but she’d more often than not leave a spot or two open to allow for more spontaneity. As dance cards were only used by women, I don’t know if they’d be used by gay men in courtship or not. Queer people at a ball however might wear something to indicate their preference in dance partner. A visual cue to let the gentlemen know that the Baroness of Arendale doesn’t have much interest in dancing with men.
Courting in Public
Courtship, especially among the upper class, was predominantly undergone during the Social Season, which in the UK ran from March until September, and included a wide variety of events and activities including balls, picnics, dinner parties, and sporting events. During the social season, every personage of noble blood would gather in a central location, usually the capital. These were not the only times during the year when people courted, it was more akin to a feeding frenzy for eligible bachelors, largely due to all of their marital options being assembled for the season, making it much easier to find someone to his liking.
It was wildly scandalous to show public displays of affection. That was to be reserved for private life. As such, suitors would instead exchange gifts, photographs or locks of hair instead of kissing or holding hands. For a queer relationship, it might be allowable for suitors to give one another their clothing, jewelry, weapons, or armor, either in their entirety or a particular piece of it. However the intimacy of sharing garments would likely be reserved for couples that have been courting for some time, and would be ill-advised as a first gift to one’s admirer.
At a ball or other such party, if someone catches your fancy but you’ve never met them before, it is impolite to speak to them until the host or hostess has formally introduced you to one another. Even if you dance with them, it is ill-mannered to speak to them during and after the dance if neither of you have been introduced to one another.
If someone insults your suitor, a gentleman should be ready to act the part of a knight and defend his lover’s honor. If his partner initiated the conflict, it is advised for a gentleman to apologize on their behalf, though not so meekly as to offend their lover or besmirch their honor. If another man is looking to start a quarrel, a gentleman should not return his hostilities, as a foul temper and lack of self-control is an indication of ill manners and poor breeding, bringing you down to the other man’s level.
A gentleman should always carry his lady’s luggage, and on the sidewalk, takes the side closest to the street to keep his lady’s dress from being splashed with mud or water, or to keep her safe should a wayward horse, carriage, or car veer off the street, it is more likely to strike him than her.
A couple talking in public must speak succinctly, poignantly, and softly. Long drawn-out conversations were best for private, whereas in public, it was unwise to spend one’s entire evening conversing with a single person, unless it is well-known the severity of their entanglement. It was considered ill-manner to speak excessively or too loudly as to disturb others.
Matchmaking and Gold-Digging
Due to eldest sons getting the entire inheritance of his father, women seeking to court would seek out eldest sons who would be coming into their family fortune, while sons left out of the inheritance would be more willing to marry below their station in pursuit of rich heiresses whose wealth would keep them in the lifestyle to which they have grown accustomed. Likewise in a queer relationship, wealth and power would likely effect the interests of relationships, and differences in inheritance laws might also change the power dynamics in courtships. If a daughter can inherit the full control of her father’s mercantile empire, she’s going to be fighting off second-born suitors with a stick, regardless of gender.
I mentioned above the Levées and Presentations that young nobles would go through when entering the public sphere of the court. Parents of other noble families would often be in attendance of these parties, and if a presenter impressed them, they may approach the parents and suggest a courtship between their children. This is less of an arranged marriage, and more the parents steering their children to give each other a chance. It’s much closer to playing matchmaker than paying 5 cows and a corn mill for someone’s daughter. The children could still decline the courtship out of lack of interest or an absence of chemistry, so long as they settled things politely.
While that was a lot of information, I do hope it is something you found helpful. Most of the rules are much harsher on upper class characters, but most people who write historical romances are more interested in the romance between the countess and the duke, rather than the washer woman and the fisherman. I will also admit this is not a flawless breakdown, as I could have easily missed something. Still, as someone who loves period dramas and historical costume, I couldn’t leave such a tantalizing topic untouched.
Incredibly informative. Lots of good jumping-off points for organizing and stratifying courtship among the social elite (or those seeking such status).
Also, and perhaps more importantly, this serves as a good example of understanding the rules so that you know how to break them. That is, doing the research and assembling the proper foundation for how a certain worldview will function, only to veer off course and do your own thing – because doing your own thing will be, invariably, way more interesting.
How about pivoting the relational dynamics more exclusively around profession or occupation instead of established gender roles and gender expectations? Put the emphasis on favoring families who work in government, mercantilist enterprises, and the military, and manufacture varying tiers of authority therein. I’d be more interested in reading about a female lieutenant being of equivalent rank to a male taxman or lawyer, and their possible fling; or about a second-generation jewel merchant being unable to properly court a fifth-generation necromancer, because they don’t have the right clout.
Separately, if it’s improper for one to declare their romantic interests in jest, or to otherwise exhibit uncertain emotions, perhaps the one being courted reserves the right to knife their courtier in the stomach. Preserve your purity and your pride with legally permissible romantic reprisal. You deserve at least that much.
Or, what if a woman is free to wander outside alone, but it’s more dangerous for others to approach her than for her to be approached by others? What if unmarried women are trained in vigilant martial defense, either publicly or in secret, which makes for awkward or dangerous courtship? Sounds practical to me. Maybe that “older married woman” who earned a title through good deeds turns out to be a retired spy.
"I read to escape the mundane details of my life."
-- author Terry Tempest Williams' mother ("Terry Tempest Williams Still Has Her Copy of Valley of the Dolls" at The New York Times)
9 Questions to Better Identify (and Clarify) Internal Conflict vs. External Conflict
from K.M. Weiland ("Internal Conflict vs. External Conflict: The Shift From Projection to Agency in Character Arc"):
Is your protagonist primarily reacting to the antagonist’s actions? Or is your protagonist making progressively more conscious choices that shape the direction of the conflict?
Does your protagonist believe the story’s problems exist entirely because of the antagonistic force? Or will the protagonist be forced to confront how personal limitations are affecting the outcome of the conflict?
Is your protagonist trying merely to defeat the antagonist? Or is the protagonist being asked to change in order to resolve the story’s central conflict?
Does the conclusion of the story’s conflict happen solely because the antagonist is removed? Or does the conflict resolve because the protagonist develops the inner capacity to create a different outcome?
Where might your protagonist be giving away personal power by focusing on what cannot be controlled instead of developing what can be controlled from within?
What personal responsibility might your protagonist be avoiding by focusing exclusively on the external conflict?
In what ways does the antagonist expose personal weaknesses, fears, or misconceptions the protagonist would rather not confront?
Does your protagonist earn moral authority through growth and difficult choices? Or is the protagonist gifted legitimacy simply by opposing the villain?
Where does your protagonist need to reclaim agency in order for the ending to feel earned?
"If you love friends, you will serve your friends. If you love community, you will serve your community. If you love money, you will serve your money. And if you love only yourself, you will serve only yourself. And you will have only yourself."
-- Stephen Colbert (Commencement Speech, Northwestern University, 2011)
Writing Advice I Actually Use
Explain without using the word. Say 'it's cold' without saying 'it's cold'
Think of how it will feel
Think of your surroundings
Think of the smells
When stuck switch to dialogue
When stuck just write what you see Exactly how you see with as little details as you can
What helps me write is sometimes I just imagine I'm writing a roleplay response to my bestie - it makes me less stressed and believe in myself more
New paragraph whenever the camera switches
I like to think of writing like making a movie but you can only use words and never the exact words
To the first point, of explaining a sentiment, emotion, or a word/purpose, without using the most familiar language related to that word, I often couch the advice of binding myself to a dictionary or an etymology archive. Sometimes, the most direct solution is the easiest.
For example, take the boiler-plate, original description of a term (e.g., etymonline, Collins) and spend the time required to pull it apart and put it back together. Etymonline is a great resource because it allows you to explore shifts in meaning for a word over the centuries, offering you the opportunity to examine evidence of language (context) and to articulate use (difference) depending on the trajectory of the narrative.
“I read your book.”
(“Tim,” Jurassic Park, 1993)
“These days, loneliness is the new cancer – a shameful, embarrassing thing, brought upon yourself in some obscure way. A fearful, incurable thing, so horrifying that you dare not mention it; other people don’t want to hear the word spoken loud for fear that they might too be afflicted, or that it might tempt fate into visiting a similar horror upon them.”
— “Eleanor Oliphant” (Eleanor Oliphant Is Completely Fine by Gail Honeyman)
I love books more than bagels. More than jewelry, or cashmere sweaters (and trust me, I love bagels, jewelry, and cashmere). Reading likely
"Genre never determined how I ranked books [..] Then, I became a writer and had the literary caste system thrust into my face."
-- Randy Susan Meyers
Comics Review: 'Rare Flavours'
Rare Flavours by Ram V, Filipe Andrade
coming of age
culture studies
dark fantasy
social commentary
western comics
My rating: 4 of 5 stars
"People are the single most beautiful, delicious and flavorful things I've ever encountered in my near-eternal life . . . Don't you see?"
So says the ancient demon of Hindu mythos while vacillating playfully between an extensive history on the beauty and innocuousness of a slow-roasted leg-of-goat recipe (importantly, "in a spiced yogurt marinade with roast vegetables and citrus") and the pernicious, narrative reality that Rubin Baksh, at present, has tied a man to a table and plans to carve him up for a late supper.
But before readers stumble onto Mr. Baksh's dinner plans, they discern he is a modest restaurateur, writer and poet, and wayward romantic. Readers learn the heavyset man adores the late Anthony Bourdain, hates the thought of departing the world and leaving nothing behind, and that pain, shame, suffering, and restoration are all necessary fragments of the human experience. In RARE FLAVOURS, readers learn of what constitutes one person's inner world. Mr. Baksh may be a centuries-old demon, but his awkward intuitiveness and damming charm are equal attempts at reconciling those dastardly and malign parts of him that can likewise be found in humans the world throughout.
Book Review: 'Playing Death Games to Put Food on the Table' #1
Playing Death Games to Put Food on the Table, Vol. 1, by Yushi Ukai, Nokometaru, Kevin Yuan
adventure
coming of age
science fiction
My rating: 1 of 5 stars
The challenge with books in which the author holds a deliberately hostile view of character development is how blatantly obvious and darkly prismatic the consequences typically are: unclear or nonexistent character goals; nebulous and vain archetypes; and alas, if the author doesn't really care about their characters, then why should readers?
PLAYING DEATH GAMES TO PUT FOOD ON THE TABLE v1 is a curious but unsatisfying read in much the same way one might shrug one's shoulders at a large-scale fantasy series in which popular characters are regularly written out of the story, or in much the same way one might roll one's eyes at a narrative point of view that leans too heavily into the male gaze. PLAYING DEATH GAMES v1 is dull, overwritten, and melodramatic.
The book's appeal is somewhat laughable on its face: a "horror fiction" novel with zero blood, gore, or appropriate violence; a muddled, low sci-fi exploit with comically inexplicable science; a tale of greed and perversion without much conversation of money and zero nudity. What readers who might enjoy this novel will find most pleasing is how the author strips away anything legitimately offensive and leaves it to the reader to conjure the details. Whether such an approach constitutes good storytelling is debatable.
Fantasy Worldbuilding: Starting With A Map
Many worldbuilders like to start with a map, particularly those making worlds for RPGs and similar projects, but as writers, what can we gain (and lose) from the outside-in method of creating your external world first?
In this post I'm exploring the pros and cons I've found of starting your fantasy novel's worldbuilding with a map, as well as advice for how to incorporate map-making to suit your worldbuilding needs.
Good stuff. Maps are fun and informative, but scale and utility are more important than details or aesthetic. It's always best to figure out who/what the map informs prior to (or during) the map's creation before getting in too deep. You can always change, edit, or adapt the map as needed, but generating boundaries (for use) at the onset will help prevent you from making mistakes that are harder to correct later on.
"Neither love nor friendship can exist without freedom, and none of these terms have any real meaning without truth."
David Wengrow ("Seeds of Anotehr World" at Eurozine)