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Morality and Honor: Social Mores in Historical Romance

August 17, 2014 by in category The Romance Journey by Linda Mclaughlin tagged as , , , , , ,

I was overly ambitious while writing my talk for last Saturday’s OCC/RWA meeting on Herstory: Writing and Researching the Historical Novel, so I’m going to excerpt some of the material I had to omit in my monthly blog post. This month, social mores.

One of the biggest traps historical novelists can fall into is writing historical characters with 21st century mores. And nothing can make the reader want to throw a book across the room quicker. This especially applies to women. The double standard still exists, but it was much greater in previous centuries.

War and social unrest have always upset the normal patterns of life, and social mores tend to fall by the wayside during such periods. Still, a historical female character who shows no regard for her reputation isn’t believable unless she’s already a fallen woman and has no reputation to lose. Personally, I don’t necessarily mind a heroine who flaunts society’s rules; I just need to believe that she knows what she is doing and is well motivated in her choices. The woman who doesn’t understand the consequences of her actions strains credibility. Women had a lot more to lose in the not-so-good old days. It’s especially tricky when you have a virginal heroine. People in those days set great store in virginity. But if we’re going to write sensual or erotic historical romance, we need to find a way for our heroines to bypass those restrictions.

Though the concepts may seem rather old-fashioned nowadays, honor and integrity were more important in the past, esp. for men of the upper classes. One of my favorite scenes in Downton Abbey is the one where the Earl of Grantham tries to buy off chauffeur Tom Branson if he will leave Sybil alone. Tom refuses and informs the earl that men in his class are’t the only ones with honor. Point, Tom!

However, morality did tend to vary by class. Upper and middle-class children were taught their manners and the difference between right and wrong while poor kids just tried to survive. In his childrens novel, The Shakespeare Stealer, Gary Blackwood introduces us to Widge, an orphan boy apprenticed to a dishonest clergyman. Dr. Bright teaches Widge a form of shorthand he has developed and then sends the boy to write down other vicar’s sermons. One Sunday, Widge hears Bright deliver one of the sermons he’d copied. At first, Widge doesn’t think too much about it. As he puts it, “As nearly as I could tell, Right was what benefited you, and anything which did you harm was Wrong.”

In George Bernard Shaw’s Pygmalion, the basis for My Fair Lady, Eliza’s father, Alfred P. Doolittle, talks about the undeserving poor and opines on  middle class morality.

Morality and honor sometimes require our characters to act against their own best interests, which can be great for conflict.

So how do you know what the social mores of your period were? And how likely were they to be ignored?

See what was going on in the period. As I said, social mores often go out the window in wartime. And history being somewhat cyclical, periods of repression are usually followed by periods of licentiousness, like the English Restoration, a bawdy reaction to the moral restrictions of the preceding Puritan regime of Oliver Cromwell.

Also consider the prevailing religion of the time and location of your book. That will often provide guidance. Moral standards in Puritan New England and Cavalier Virginia during the Colonial period were quite different.

Look for etiquette books for the social niceties. For the Regency period, check out The Mirror of the Graces by A Lady of Distinction, first published in 1811. I have a paperback copy, but it’s available in e-book format format. Google etiquette and your period and you will likely find a lot of choices.

For those who missed the August meeting, I’ve added pages at the Reference Shelf on blog with two of my handouts. Primogeniture still to come.

British Titles: A Brief and Incomplete Guide

Source Books for Historical Writers: A Partial List

Feel free to leave questions and comments below.

Linda McLaughlin / Lyndi Lamont

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What’s In A Name? More Than You Might Think

July 16, 2014 by in category The Romance Journey by Linda Mclaughlin tagged as , , , ,

In Romeo and Juliet, Shakespeare wrote, “What’s in a name? A rose by any other name would smell as sweet.” As we soon learned, Juliet’s name was extremely important. She was just any Juliet; she was a Capulet, mortal enemies of Romeo’s Montagu family.

copyright 2004 Art Explosion

As any writer knows, finding the right name for your character is important, esp. the first name. Personal names come with expectations, even the historically improbable ones. Can you imagine Amber St. Claire of Forever Amber as Mary or Nancy? I didn’t think so.  I read that Poppy was one of the names Margaret Mitchell considered for her southern belle before she came up with Katie Scarlett O’Hara. Somehow Poppy O’Hara just doesn’t have the same ring to it! Poppy sounds more like a servant girl.

Names have ethnic, class and sometimes religious connotations. Algernon and Reginald, for instance. Not exactly common working men names.

What do Sean, Ian and Ivan all have in common? They are all variants of John, but you wouldn’t name a character Ivan unless he’s from a Slavic country or background. In historical times, the same was true for Sean and Ian. Sean was Irish; Ian Scottish, and historical romances notwithstanding, no upstanding English aristocrat of the past would have allowed his son to be christened Sean or Ian. The priest wouldn’t have allowed it. The parish register would have shown the name as John.

In past centuries, the personal name stock was much smaller than it is now, though not necessarily the same. Prior to the Protestant Reformation, saint names were common. The stricter Protestants rejected many saint names in favor of Biblical names, like Hester and Ezekiel, and even more obscure names. They also invented the so-called virtue names: Faith, Hope, Charity, Prudence, etc.

When choosing names for a historical novel, I look in a book like The New American Dictionary of Baby Names by Leslie Dunkling and William Gosling that gives some historical context for the names. Plus I love the authors’ surnames. I keep thinking it should be Duckling and Gosling, though.

Surnames came into general use in the Middle Ages, and usually come from one of four sources: place of residence, occupation, nickname or patronymics, such as Johnson, Anderson, Davison. In Scotland, Mac at the beginning of a name means son of. In Ireland it’s Mc or O. Patronymics are common to many European countries. The Scandinavian countries also used matronymics, ending in dottir.

When writing an aristocratic character, I look for a less common place name, as the nobility and gentry were usually landed and were likely to take their surname from (or have given it to) the name of their estate. However, the older aristocratic were most likely descended from the Norman invaders and you can find a list of Anglo-Norman names at Wikipedia. Interestingly, Montaigu is one of the names listed.  You can also find lists of British titles at Wikipedia, among other online sources. Burke’s Peerage is one of two definitive guides to the aristocracy, but it’s extremely expensive (over $800). You might be able to find an older copy at a local library. The other definitive source on the nobility is DeBrett’s Peerage.

Occupational surnames usually indicate humbler origins. Nearly every village had its baker, blacksmith, cooper, carter,  miller and tailer. A few noted exceptions are Stewart, Spencer and Chamberlain, occupational titles of highly placed employees in the royal courts. The royal Stewart ancestors held the title High Steward of Scotland from the 12th century until Robert II became king in the 14th century.

Names based on nicknames, originally called bynames, were used to distinguish two people in a village with the same first name. Bynames include handles like Short and Littlejohn. These were not originally intended as long-term family names but evolved into that.

In the late nineteenth century, Henry Brougham Guppy made a study of farm family surnames as he considered them the most stay-at-home group in the county. In 1890 he published Homes of Family Names in Great Britain in which he categorized names by how common or unusual they were. He found that certain names were “peculiar” to primarily one county. Those are referred to as Guppy’s peculiar names. His book is now available from Project Gutenburg and Google Books.

American surnames come from all around the world and provide a great deal more variety for the novelist than other countries.  I became fascinated with names when I was researching my family history. Hunting down my German ancestors was a challenge because the surnames were rarely spelled the same way twice. One of my ancestors started life as Conrad Buchle in Wurttemberg, Germany. A few generations later, his descendents last name was Beighley.

When I started writing around 1988, I collected every name book I could find that had any value for writing historical romance, and boy am I glad I did. Most of them are now out of print, but may be available as used books or in your local public or university library. You’ll find a brief list. I’ll hunt for more. I’m going to be speaking at OCCRWA on writing historical romance in August.

Name Sourcebooks:

American Surnames by Elsdon C. Smith, Genealogical Publishing Company, 2009. http://amzn.com/0806311509

Burke’s Peerage, Baronetage and Knightage, Burke’s Peerage, 107th Edition 2003 http://www.amazon.com/Burkes-Peerage-Baronetage-Knightage-107th/dp/0971196621/

A Dictionary of First Names, Patrick Hanks and Flavia Hodges, 2nd ed., Oxford Paperback Reference, Oxford University Press, 2006. Out of print.

The New American Dictionary of Baby Names, Leslie Dunkling and William Gosling, Signet, 1985, 1991. Better than the average baby name book because it gives some historical context for names. Out of print now.

New Dictionary Of American Family Names by Elsdon C. Smith, Gramercy Publishing, 1988, out of print.

The Oxford Dictionary of English Christian Names by E. G. Withycombe, Oxford University Press; First American edition edition 1947, paperback 1986. Out of print.

The Writer’s Digest Character Naming Source Book, Sherrilyn Kenyon, Writer’s Digest Books, 1994.  Available at Amazon.com

Linda McLaughlin

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NOVEL EDITS

July 14, 2014 by in category Archives tagged as , ,
I spend more time editing a novel than writing it. Writing is done in a fit of passion, fingers flying furiously over the keyboard as I create heart-palpitating dialogue and brilliant flash-bang action that is never as good as I think it is. It’s sort of like a first date with an absolutely gorgeous human being who is funny and wise and wonderful – only not. What I might have seen in a sultry, shadowy bar after two glasses of wine is not what I face in the light of day. The sooner I acknowledge that, the better.
Editing is the day after the first date. It is addressed with objectivity, reserve, and grave consideration of the future of my novel. Okay, maybe it’s not as grave as assessing a man the morning after a first date but I’m darn serious about it.  It’s taken me years to discipline myself and admit that my writing is never publishable after the first – or even third – go-round.  In fact, it’s so hard to be objective that I made a list of bottom-line, life-and-death edits, so that I wouldn’t be seduced by my own pretty phrase, an arrogant word, or ridiculous scenario.
Here are the 6 edits I can’t live without (and neither should you).
      1)   Same Word Edit: If you use the same word over and over, learn a new one. Words lose their potency just like spices. It is sort of like whining, after a while it’s just another high-pitched sound.
       2)   The Thesaurus Edit: Don’t use big words, vague words, or unusual names. Readers will trip over them, be upset that you are taking them out of the story, and, worse, that you made them feel stupid.  A book is like a float down a river, you never want a reader to run aground.
        3)   The Logical Movement Edit: Move characters from point A to point B with sensible purpose and the story the same way. If you don’t, the reader will be puzzled and spend more time wondering how things happened rather than accepting that they happened.
       4)   Love or Lust Edit: Characters make love if there’s reason to be in love. Be clear about why your characters deserve to be cherished and admired. If they are just in lust, be clear about that too. The two ‘L’ words should never be confused.
        5)   I’m Tired Edit: Readers can tell when an author gets tired. Step away and recharge. Come back at it in full form. 

        6)   The Consistency Edit: A character must stay in character, details build a scene, red herrings need to be revisited and wrapped up. Life in a novel should be tidy at the end even if it’s a marvelous mess of storytelling.
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Sew Up Your Novel

June 15, 2014 by in category Archives tagged as , , ,
It is true. I began writing on a crazy dare.
I was an account supervisor in a large advertising agency in San Francisco. My client was married to Danielle Steel. When I was told she was one of the most successful, most prolific authors of the day I uttered those ridiculous words, “I bet I could do that – I bet I could write a book.”
Well, my colleague dared me to do it so I dug in with both heels. At the very least, I would get a rejection and prove that I had tried. Maybe then she would stop laughing at my ridiculous boast. I tackled this challenge in the same way I tackled a marketing plan: by asking questions. How was a book published? Who did I have to talk to in order to get a book published? What kind of book had the greatest chance of being published? Finally, does one actually write a book?
The first three questions were easily answered. Even without the Internet (or computers) I was able to find out exactly how, who, and what. All the answers led to Harlequin. No agent needed, a synopsis and a partial submitted to editors directly and editorial guidelines were offered for each line. The only problem was that I had no idea how to write a book even though I had read hundreds. I could think of only one thing to do.
I would learn to write a book the same way I learned to sew – by studying and following a pattern.
It seemed appropriate that the pattern would be based on one of Danielle Steel’s novels. I can’t remember which book I chose, but I clearly remember three nights spent in front of a fireplace with that book, wine and a yellow marker. I read each page and highlighted the ‘seams’ of her work. 
  • ·      When was the reader introduced to the main characters
  • ·      Where were the dramatic plot points
  • ·      When and where were the emotional reveals
  • ·      How many pages were there of expository
  • ·      How many pages were there in the book, for that matter
  •      What role did secondary characters play and how often were they mentioned

When I was finished I had a simple, working plan – a pattern, if you will – and I was thrilled. I wrote for months and when I was done I had exactly the right number of pages, all the characters came in on cue and the plot was revealed appropriately.
Yawn!
Writing my book was like making a plain dress. Even I knew that, while I had meticulously followed the pattern, my work was lacking. My book was in dreadful need of buttons and bows to make it unique, to make every editorial head turn when I walked into the room via my novel.
When I understood this, I had the final piece of the pattern. Every book needs the right foundation – the proper pacing, a solid cast of characters, the right setting – but it also needs style. Style is what sets an artist apart from a painter, a fashion designer from a seamstress and a writer from an author.

I am writing my twenty-ninth book and I have learned a great deal but I still follow the pattern I created years ago after analyzing one of Danielle Steel’s books. Now I add on my own unique buttons and bows that are expressed through my voice, my observations and my personal inspiration. I can only hope that someday a writer will take one of my books, sit in front of the fireplace with a marker and ask, how did she do that? If she pays close attention, she will be able to see my pattern and then she will add her own buttons and bows.
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