Beth. 27. She/Her.
ON WRITING HIATUS
Multishipper | Sometimes I write things.
Currently obsessed with hockey...
I keep all that nonsense on my sideblog: NOELACCIARI
A Guide to Historically Accurate Regency-Era Names
I recently received a message from a historical romance writer asking if I knew any good resources for finding historically accurate Regency-era names for their characters.
Not knowing any off the top of my head, I dug around online a bit and found there really isn’t much out there. The vast majority of search results were Buzzfeed-style listicles which range from accurate-adjacent to really, really, really bad.
I did find a few blog posts with fairly decent name lists, but noticed that even these have very little indication as to each name’s relative popularity as those statistical breakdowns really don't exist.
I began writing up a response with this information, but then I (being a research addict who was currently snowed in after a blizzard) thought hey - if there aren’t any good resources out there why not make one myself?
As I lacked any compiled data to work from, I had to do my own data wrangling on this project. Due to this fact, I limited the scope to what I thought would be the most useful for writers who focus on this era, namely - people of a marriageable age living in the wealthiest areas of London.
So with this in mind - I went through period records and compiled the names of 25,000 couples who were married in the City of Westminster (which includes Mayfair, St. James and Hyde Park) between 1804 to 1821.
So let’s see what all that data tells us…
To begin - I think it’s hard for us in the modern world with our wide and varied abundance of first names to conceive of just how POPULAR popular names of the past were.
If you were to take a modern sample of 25-year-old (born in 1998) American women, the most common name would be Emily with 1.35% of the total population. If you were to add the next four most popular names (Hannah, Samantha, Sarah and Ashley) these top five names would bring you to 5.5% of the total population. (source: Social Security Administration)
If you were to do the same survey in Regency London - the most common name would be Mary with 19.2% of the population. Add the next four most popular names (Elizabeth, Ann, Sarah and Jane) and with just 5 names you would have covered 62% of all women.
To hit 62% of the population in the modern survey it would take the top 400 names.
The top five Regency men’s names (John, William, Thomas, James and George) have nearly identical statistics as the women’s names.
I struggled for the better part of a week with how to present my findings, as a big list in alphabetical order really fails to get across the popularity factor and also isn’t the most tumblr-compatible format. And then my YouTube homepage recommended a random video of someone ranking all the books they’d read last year - and so I present…
The Regency Name Popularity Tier List
The Tiers
S+ - 10% of the population or greater. There is no modern equivalent to this level of popularity. 52% of the population had one of these 7 names.
S - 2-10%. There is still no modern equivalent to this level of popularity. Names in this percentage range in the past have included Mary and William in the 1880s and Jennifer in the late 1970s (topped out at 4%).
A - 1-2%. The top five modern names usually fall in this range. Kids with these names would probably include their last initial in class to avoid confusion. (1998 examples: Emily, Sarah, Ashley, Michael, Christopher, Brandon.)
B - .3-1%. Very common names. Would fall in the top 50 modern names. You would most likely know at least 1 person with these names. (1998 examples: Jessica, Megan, Allison, Justin, Ryan, Eric)
C - .17-.3%. Common names. Would fall in the modern top 100. You would probably know someone with these names, or at least know of them. (1998 examples: Chloe, Grace, Vanessa, Sean, Spencer, Seth)
D - .06-.17%. Less common names. In the modern top 250. You may not personally know someone with these names, but you’re aware of them. (1998 examples: Faith, Cassidy, Summer, Griffin, Dustin, Colby)
E - .02-.06%. Uncommon names. You’re aware these are names, but they are not common. Unusual enough they may be remarked upon. (1998 examples: Calista, Skye, Precious, Fabian, Justice, Lorenzo)
F - .01-.02%. Rare names. You may have heard of these names, but you probably don’t know anyone with one. Extremely unusual, and would likely be remarked upon. (1998 examples: Emerald, Lourdes, Serenity, Dario, Tavian, Adonis)
G - Very rare names. There are only a handful of people with these names in the entire country. You’ve never met anyone with this name.
H - Virtually non-existent. Names that theoretically could have existed in the Regency period (their original source pre-dates the early 19th century) but I found fewer than five (and often no) period examples of them being used in Regency England. (Example names taken from romance novels and online Regency name lists.)
Just to once again reinforce how POPULAR popular names were before we get to the tier lists - statistically, in a ballroom of 100 people in Regency London: 80 would have names from tiers S+/S. An additional 15 people would have names from tiers A/B and C. 4 of the remaining 5 would have names from D/E. Only one would have a name from below tier E.
Women's Names
S+ Mary, Elizabeth, Ann, Sarah
S - Jane, Mary Ann+, Hannah, Susannah, Margaret, Catherine, Martha, Charlotte, Maria
A - Frances, Harriet, Sophia, Eleanor, Rebecca
B - Alice, Amelia, Bridget~, Caroline, Eliza, Esther, Isabella, Louisa, Lucy, Lydia, Phoebe, Rachel, Susan
C - Ellen, Fanny*, Grace, Henrietta, Hester, Jemima, Matilda, Priscilla
& Men were sometimes given a family surname (most often their mother's or grandmother's maiden name) as their first name - the most famous example of this being Fitzwilliam Darcy. If you were to combine all surname-based first names as a single 'name' this is where the practice would rank.
*Rank as a given name, not a nickname
+If you count Mary Ann as a separate name from Mary - Mary would remain in S+ even without the Mary Anns included
~Primarily used by people of Irish descent
^Primarily used by people of Scottish descent
>Primarily used by people of Welsh descent
I was going to continue on and write about why Regency-era first names were so uniform, discuss historically accurate surnames, nicknames, and include a little guide to finding 'unique' names that are still historically accurate - but this post is already very, very long, so that will have to wait for a later date.
If anyone has any questions/comments/clarifications in the meantime feel free to message me.
Methodology notes: All data is from marriage records covering six parishes in the City of Westminster between 1804 and 1821. The total sample size was 50,950 individuals.
I chose marriage records rather than births/baptisms as I wanted to focus on individuals who were adults during the Regency era rather than newborns. I think many people make the mistake when researching historical names by using baby name data for the year their story takes place rather than 20 to 30 years prior, and I wanted to avoid that. If you are writing a story that takes place in 1930 you don’t want to research the top names for 1930, you need to be looking at 1910 or earlier if you are naming adult characters.
I combined (for my own sanity) names that are pronounced identically but have minor spelling differences: i.e. the data for Catherine also includes Catharines and Katherines, Susannah includes Susannas, Phoebe includes Phebes, etc.
The compound 'Mother's/Grandmother's maiden name used as first name' designation is an educated guesstimate based on what I recognized as known surnames, as I do not hate myself enough to go through 25,000+ individuals and confirm their mother's maiden names. So if the tally includes any individuals who just happened to be named Fitzroy/Hastings/Townsend/etc. because their parents liked the sound of it and not due to any familial relations - my bad.
I did a small comparative survey of 5,000 individuals in several rural communities in Rutland and Staffordshire (chosen because they had the cleanest data I could find and I was lazy) to see if there were any significant differences between urban and rural naming practices and found the results to be very similar. The most noticeable difference I observed was that the S+ tier names were even MORE popular in rural areas than in London. In Rutland between 1810 and 1820 Elizabeths comprised 21.4% of all brides vs. 15.3% in the London survey. All other S+ names also saw increases of between 1% and 6%. I also observed that the rural communities I surveyed saw a small, but noticeable and fairly consistent, increase in the use of names with Biblical origins.
Sources of the records I used for my survey:
Ancestry.com. England & Wales Marriages, 1538-1988 [database on-line].
Ancestry.com. Westminster, London, England, Church of England Marriages and Banns, 1754-1935 [database on-line].
as a reminder to literally anyone and everyone who even so much as considers this: AO3 has NO autosave ability when you're making drafts, so PLEASE do not use it instead of a writing program.
If their server goes down, if you hit a wrong button and refresh the page or go back to the previous page, if you accidentally close the browser, if your browser or device crashes, etc etc etc you are shit out of luck. Your work is gone forever, it didn't backup to anywhere and there is NO recovery option. Even TUMBLR's drafting ability is supposed to autosave and often does.
If you want to avoid gdocs that's fine- there's other text editors with simple autosave options, like Online Notepad or Digital Scholar's notepad, or there's still local-drive writing programs that are free and open source, like LibreOffice. PLEASE do not use AO3 to write your stories into directly. It has NOTHING.
Every November during NaNoWriMo, Scrivener goes on sale at a steep discount. It is the best writing program I have ever used AND it has a super reliable autosave.
LibreOfficr is also a great alternative as mentioned above. I have it, too, just in case.
Definitely don't use AO3 for a writing program. Also, save your work in multiple places. I have my works on my D: drive with a copy on my C: drive and ANOTHER copy on an external drive and I have emailed them to myself so they are on a couple of clouds. My most prized short story is also printed.
Just mentioning that because being paranoid about preserving your work as a writer is essential. Even if you never post or publish it. You will hate yourself otherwise.
Reblogging to add that Campfire is an excellent writing app as well. It has outstanding local autosave and cloud saving features. You can write from your phone, tablet, PC, or browser and it all syncs up.
In addition to writing, you can also add your own languages, maps, magic/legendary items, wiki articles, character sheets, and so much more. They're all integrated really well and it's a great way to keep track of all the shit you come up with.
The app is free for limited use (you can write up to 25k words in manuscript, have a set number of timeline events and character sheets, etc). Unlike some apps, you can do everything for free, including customize the appearance and theme.
Upgrading is done per feature, so you only pay for what you actually need. For example, it costs $1.50/month for unlimited writing. That's nothing. You can also pay for annual or lifetime upgrades, for folks who prefer not to have monthly subscriptions.
And the icing on the cake, you can easily add collaborators or readers to your projects. I cannot recommend it enough.
I wrote this post initially to address folks who prefer not downloading complicated apps, since if they're using AO3 they are probably doing it because it is a very simple rich text editor, but these are good additions for anyone looking for something a bit more complex, with more features. Personally I can't use either, I have to have as simple of a program as possible.
I also forgot to mention Write or Die and Written? Kitten! The latter is mostly as bad as AO3 in terms of autosave (it will keep your text if you refresh but not if you navigate away or crash), but you at least get a visual reminder every 100 words if you want to move your writing off the site so you can write in a simple box and save elsewhere. The former is a less a program and more a threat, but in the writing stage it's just a text box with a timer and a word counter, so I use it sometimes when even LibreOffice's simple toolbars are a distraction, or if I need a focused time period to write in. If you have the WOD program on desktop at least, it will also create a backup text file as you write, to whatever folder you want, in case of crashes.
Look, write however you want I guess, but writing directly into AO3 is a gamble at best. At some point something out of your control will happen, and you'll lose something you loved, and it's going to really fucking SUCK. I don't want that for you. Your writing is precious enough to at least try to protect up front by creating it someplace even marginally safer.
Also, relatedly, please please please do not publish mostly empty works with a bunch of tags that say stuff like "AO3 draft because of time limit please ignore" and a work text that says something like "erm sorry this is just a placeholder so my draft doesn't get deleted because of the stupid time limit lol". NO! STOP THAT! Those mostly empty works are considered spam, and they make the search function more annoying to use for literally everyone else on the site. They're also reportable, and people will absolutely 100% report your account over them (and frankly, they should!). AO3 isn't a writing program. The AO3 drafts aren't meant for actually writing in, they're just meant to be a place so you've got like a month or so to play around with the html formatting before you post a work. The draft time limit is specifically there so that people don't use it to draft works over an indefinite time span. It's meant to prevent people from doing literally exactly this.
If you're just looking for a writing program that isn't Word or Google Docs, any of the options listed above are great – I myself use LibreOffice, and it's what I usually recommend to people. If, on the other hand, you're writing in the AO3 drafts because you're having trouble transferring the formatting of your drafts over from Word or Google Docs and don't really know html, here is a great guides to help make the process easy:
Both writers and readers have probably noticed formatting inconsistencies when reading fics on Ao3. Who wants to work hard for weeks or mont
Here's an additional thing that you can set up on Google Docs specifically that basically allows you to toggle between rich text and html, just like in the AO3 drafts, so that if you want to do funky things with formatting you can still just copy/paste:
I write my fics out in Google Docs and then paste the text into Ao3 when I'm ready to post it. Does anyone else have the problem of pasting
Also, if all else fails, here's a guide for fixing your formatting in Word if it's gotten screwed up and AO3 isn't recognizing where the paragraph breaks should be and stuff:
Formatting your text for Ao3
Ao3′s rich text editor is finicky sometimes. It’ll add in an extra paragraph tag, making a huge gap between all
Did this poll once before but curious again. when you were a child would your parents give you a carbonated drink such as coke, 7up (flat or otherwise), dr pepper, etc when you were sick?
Yes
No but I knew people whose parents did
No + what on earth are you talking about
Voting ended onJan 24, 2024
And put where you're from in the tags if you're comfortable w it!!!
having a 3yo brother means i get exposed to kids’ shows way more often than i thought i would at this point in my life, but man, binge watching thomas the tank engine as an adult is a wild fucking experience
all these trains (and there’s like 20 counting locomotives alone, don’t even get me started on the anthropomorphic train cabins) are MAD competitive the whole time and will constantly fuck up their own whole day by tring to prove they’re the biggest baddest train. and like, i understand that you gotta get you plot from somewhere and i imagine plotlines like this happen in cars etc. as well, but the other day i was watching and i noticed that all these goddamn locomotives have DRIVERS in them. that apparently have no control over their train’s actions at all whatsoever. so these trains wake up, pick up their drivers, go to work, get taunted by another train who’s like “ha ha i see u there with your 4 cabins but did you know i can pull SIX cabins and still fucking book it at 80mph” and the 4 cabin train will be like “fuck it i gotta prove myself now, hook me up with 4 more cabins” and will inevitably derail themselves or some shit while the engine driver just shuts up and kicks back the whole time
i explained this to my brother and was like, is that fucked up or what, but he just pointed at the green train and went “that’s percy” so i guess that’s his take on the situation
OKAY I’M GETTING IN ON THIS BECAUSE I’M MAD AND FULL OF COLA
I worked on that show. For three hideous months of my life, I did this.
And there was this whole unwritten rule structure about the drivers and what they did and when they did it and how/when they needed to act
And there was this weird fucking balance between what the trains did and what the humans did - the drivers would only act when the train can’t do a thing by itself. Hooking up to another car? Driver does it. Need to shift from one track to another? Driver gets out and does it. Loading up one of the cars? Drivers.
See something funny here? BECAUSE I DID. What driver would hear their sentient train say “fuck it i gotta prove myself now, hook me up with 4 more cabins” and NOT respond with “Percy just shut up and drive we have people to transport or the Health and Safety committee is going to breathe fire up both our asses”???
Naw, they hear their giant fucking trains with giant fucking faces whining about how they are getting old and outdated and how they need to prove themselves by doubling their reasonable capacity and they go “welp, okay” and they get out and they hook up those cabins.
Otherwise, the trains had total autonomy to do whatever petty competitive shit the plot of the day demanded that they do. Go way too fast and end up breaking because they wanted to race a new and not outdated engine that’s actually built for speed? They do that. Go 100% the wrong direction because they wanted to show their friends a thing they got loaded up with and end up ruining it? No probbo, Bobbo. Disobey directions given by Sir Topham Hatt HIMSELF because they’re too proud? You do the thing buddy. Strain way too fucking hard to carry 8 fucking cabins when they were only built for 4? YOU GO FOR IT YOU MORON TRAIN.
SO WITH ALL THAT HERE’S MY THEORY that I had to develop because it was either that or never stop drinking ever again
Those drivers? They never speak to each other, never acknowledge the existence of any humans. They get in the train, go with the train, fix the train, load or unload the train. That is all they do.
They’re not human.
They are symbiotic extensions of the trains. They are a combination of the birds that eat parasites off hippos and fucking Boston Dynamics style robots where literally all they do is whatever shit their designated Train Of The Day deems worthy of their time.
With no task to fulfil, they are thoughtless beings. WATCH THEM. They look around at nothing. They blink. Sometimes they lean on the edge of the window. 99.5% of the time, they do nothing, they see nothing, they interact with nothing. They are shaped in such a way as to avoid unsettling the real humans of the world, but are below humans in almost every way - Sir Topham Hatt never speaks to them directly in the way he speaks to the engines.
If the train derails and it’s possible that a human driver would be severely injured? It’s fine, because they’re not actually human. They crumple into a heap of non-euclidian geometry and then rebuild themselves like an inflatable snowman. Their recovery is fuelled by the years of poor decisions they’ve helped enable - all this time they’ve been feeding off the intellect of these trains.
Why do the trains never learn from their mistakes? Why, after more than 30 years, are they still getting stuck, taking on more weight than they should know they can handle, still derailing themselves?
Because these symbiotic train extensions need their slice of the pie. They must feed. And what’s more cost effective than sandwiches? Thought. 30 years of quiet leeching, giving the trains enough processing power to do their jobs, but not so much that the trains don’t need them anymore.
The trains are in a constant state of developmental hiatus because of the drivers themselves.
NOW YOU MAY BE THINKING, this seems weird and unusual. Why would Sir Topham Hatt allow for this? Wouldn’t it be more cost effective for the trains to be able to learn from their mistakes and become better workers?
And to that I ask you… from this entire operation, hauling coal, hauling people, hauling animals, being “really useful”… what do the trains get out of this? They are kept alive and maintained, but neither are they allowed their own independent thought, or their own free time or interests. Everything they do is done under orders of Sir Topham Hatt.
And without the brainpower to devote to critical thought, they are unable to see how their petty struggles to be better than each other only reinforces the system where they are coerced into being “really useful”, above all else.
did not expect to wake up today to thomas the tank engine discourse and unsettlingly well-thought-out conspiracy theories..but at the same time, in this day and age, i really cant say im surprised
being in my 20s is like I understand more of my mother and less than i ever have. My childhood friends are strangers to me and there’s no one i know better. i want to drink wine. i never stopped wanting to climb trees. i know more than I’ve ever known before. I don’t know anything at all. i’m seven years old and sixteen and twenty nine and seventy. I can’t tell when i'm happy. I think the only thing that will make me happy is to be little again. i want to be really old. i go to the ocean and feel like nothing matters more than that. in my bedroom everything matters so much. I go to the grocery store every day. i know how to cook a lot of things but the only thing i know how to eat is fried eggs. I can take care of myself but i want to be taken care of. i want to go home and I don't know where that is. i think it may be somewhere inside of me but i’m not sure
“The prince just fell in love with Cinderella because of her looks!”
Wrong. Okay, picture this–
So there’s the prince, okay? He’s like, smack dab in the center of the ballroom, and he is like, horrifically aware that this whole ball thing is a result of his dad falling into a panic about the royal lineage or whatever and he’s stuck listening to highborn girl after highborn girl, all lined up, introducing themselves like, “Oh yeah my family’s been a longtime supporter of the crown, and I think you’re cute, *cough* I’ve been told I have child-bearing hips *cough* Who said that? Anyway–” and Princey boy is just smiling through it, he has been the center of attention for entirely too long, he misses his emotional support horse, and is just internally like “Someone please kill me now.” And then… he sees her–This isn’t a love at first sight thing, this is a ‘what the hell is going on over there’ thing, because this girl has not gotten into the Debutante line for a solid 45 minutes.
She’s just at the hors d’oeuvres table going HAM on the prosciutto-wrapped asparagus, and like, she’s polite about it, she’s happy to move aside for other people grabbing punch and canapes (and she’s really so sweet with the wait staff, it’s kind of cute because they’re like… definitely not used to being acknowledged) but it’s like, “Damn girl, did you not eat today?” and then the prince is kind of stuck with the uncomfortable thought of ‘how many girls starved themselves to fit into a corset for this.’ And then the Prince realizes he’s missed the past 4 Debutante introductions because he’s watching Mystery girl hork down crab rangoons. So he’s like, “Excuse me” and manages to break free from the never-ending parade of girls who will hop on his dick for status.
And as he’s approaching Mystery Girl, it’s kind of hitting him that something’s not quite natural about her. Not fake, but not quite real. But at the same time this whole evening’s been just a whole circus of people acting fake as hell, so like, someone seeming a little off doesn’t seem bad, necessarily. And he sidles up to her like, “Hi,” and she’s like, “Oh–hey, have you tried the tapenade?” and she points to one of the plates, and at this point, he could hit her with the “You don’t know who I am, do you?” deal or the “Very funny, I see your play” deal, but at this point it occurs to him that, no, he hasn’t had anything to eat throughout this whole damn ball, partially because of being stuck in the debutante parade, partially because of nerves, and there’s something so disarming about the question that he grabs a crostini and she still seems so food-focused that it doesn’t seem possible that this is a play. So they both grab little plates and ditch the party.
She pretty much clears her plate in under two minutes and then has half of his plate, he’s cool with it, mostly he’s just absolutely fascinated listening to her.
See here’s the thing about Cinderella:
1. She doesn’t know he’s the prince. Like yeah, he’s been at the center of the room, but she’s kind of spent half the party eagerly looking around everywhere she’s allowed to go (”Have you seen rose garden? Have you seen the solarium??” further confirmation that she doesn’t know who she’s talking to) and the other half stuffing her face with food.
2. She assumes she’s never going to see anyone here tonight again, and no one recognizes her, so she has no filter.
So she’s just talking about whatever with this guy. He seems cool. She talks about her friends, who are rats. She makes little outfits for them. Sometimes they bring her little gifts. She is already the coolest person the prince has ever met because of this. She pretty much offhandedly talks about whatever is fucked up about the kingdom that would take his advisors two hours of hemming and hawing and watering down to address. She just says it like it’s nothing, just funky little things she’s observed, and again, she’s not aware that he’s the prince, but it’s still pretty damn bold to bring up at a literal royal ball.
She… seems to have the majority of graces that lots of girls from Respectable Families™ have, but there’s something strange about it, something simultaneously broken and hardened, like the way you can see where ice has thawed and re-frozen. Also the way she talks about her family, and the way she avoids talking about her family– is raising several red flags, not in the “Oh this is another person trying to take advantage of me” sense, but in the “Oh fuck, something’s gone really wrong and you need help” sense and also lowkey a ‘damn is she even getting fed?’ sense. But he can’t say, ‘Hey, that’s not fucking normal for people to say that to you or treat you that way. We need to get you out of there,’ without sounding crazy himself, so for now, he’s just going to chill, make sure she’s comfortable, and keep enjoying the evening. She’s somehow befriended like 4 of the waitstaff so they’re willing to cover for them while they disappear for a little bit, and they get plenty of time to talk, but eventually it hits her that she hasn’t danced yet and she’s like “Come on! I bet we can make the prince jealous!” and he just bursts out laughing at that like “hell yeah, let’s make the prince jealous. He’s a real asshole.” Like clearly she’s having a good time, so who is he to make it weird? So they head back to the ballroom and they dance. And our girl, Mystery Girl, Cinderella, while they’re dancing, becomes acutely aware that everyone is staring. That doesn’t seem quite right. Like, yeah she’s hot, she knows she’s hot, but at least a good third of the party should still be focused on the prince, right? Where is that guy, anyway?
Oh.
Oh wait.
Oh shit.
And Princey Boy actually picks up on her realization and they whisper argue for like 3 minutes. “Why didn’t you tell me?! Now I feel like a goddamn idiot!” “I dunno it was nice being treated like a normal person” “Well me treating you like a normal person makes me a goddamn felon or something did you consider that?!” “Hey–Hey–it’s cool–you’re cool–I think you’re amazing, and if anyone says shit about you, I can shut it down.” “Well I don’t like that! That’s fucked up!” “I agree. It is fucked up, but I believe in you, and I think you should have a chance, and I’m here to back you up. I know power is fucked up right now. I know. But are you cool with working with me to change that?” And our girl Cindy pauses on that for a couple seconds, because.. she’s just spent hours with this guy and like.. she knows he’s a good guy, she knows he means well, so she’s like, “I don’t know how long I can actually work with you.” and the prince is like “Look, I know your home situation is complicated right now, but I really think we can–”
And then the bell starts ringing.
It’s midnight.
And then she takes off in a panic, and our prince just met the coolest person ever, and like, he’s pretty sure whatever situation they’re headed back to is fucked up, and all he’s got going to find her is a shoe. A shoe.
snowghoul
kaledo-art
theartofmadeline
prguitarman
janainaart
gummygunk
romaincrisis
tangentwithtanner
titsay
