spinanotherstory

[spinanotherstory]

I think it's very important for serious and dramatic fictional characters to be given at least one absurd foible. Not a character flaw in the sense of something that impacts their moral standing: something that's just silly and cannot in any way be used to further angst or interpersonal conflict.

Tell me about her unreasonably strong opinions on the ideal qualities of french fries. How he's totally inept at taking pictures with his phone camera. They have a personal beef with a local grocery chain over a misprinted coupon that the manager wouldn't admit was wrong.

Real people are weird and messy and silly. No one is moody and dramatic 24/7, and if they were they'd be too exhausting to be around. So, the more serious a character is, the more important it is to know when and how they are silly.

#writing tips

[spinanotherstory]

When inventing a fantasy religion a lot of people a) make the mistake of assuming that everyone in fantasy world would worship the same gods and b) assume that polytheistic religions see all of their gods as morally good

#religion #writing tips

[spinanotherstory]

One of the best writing advice I have gotten in all the months I have been writing is "if you can't go anywhere from a sentence, the problem isn't in you, it's in the last sentence." and I'm mad because it works so well and barely anyone talks about it. If you're stuck at a line, go back. Backspace those last two lines and write it from another angle or take it to some other route. You're stuck because you thought up to that exact sentence and nothing after that. Well, delete that sentence, make your brain think because the dead end is gone. It has worked wonders for me for so long it's unreal

#writing tips

[spinanotherstory]

reminder to worldbuilders: don't get caught up in things that aren't important to the story you're writing, like plot and characters! instead, try to focus on what readers actually care about: detailed plate tectonics

#writing tips #gif

[spinanotherstory]

Tips for writing those gala scenes, from someone who goes to them occasionally:

Generally you unbutton and re-button a suit coat when you sit down and stand up.

You’re supposed to hold wine or champagne glasses by the stem to avoid warming up the liquid inside. A character out of their depth might hold the glass around the sides instead.

When rich/important people forget your name and they’re drunk, they usually just tell you that they don’t remember or completely skip over any opportunity to use your name so they don’t look silly.

A good way to indicate you don’t want to shake someone’s hand at an event is to hold a drink in your right hand (and if you’re a woman, a purse in the other so you definitely can’t shift the glass to another hand and then shake)

Americans who still kiss cheeks as a welcome generally don’t press lips to cheeks, it’s more of a touch of cheek to cheek or even a hover (these days, mostly to avoid smudging a woman’s makeup)

The distinctions between dress codes (black tie, cocktail, etc) are very intricate but obvious to those who know how to look. If you wear a short skirt to a black tie event for example, people would clock that instantly even if the dress itself was very formal. Same thing goes for certain articles of men’s clothing.

Open bars / cash bars at events usually carry limited options. They’re meant to serve lots of people very quickly, so nobody is getting a cosmo or a Manhattan etc.

Members of the press generally aren’t allowed to freely circulate at nicer galas/events without a very good reason. When they do, they need to identify themselves before talking with someone.

#writing tips

[spinanotherstory]

a list of 100+ buildings to put in your fantasy town

academy

adventurer's guild

alchemist

apiary

apothecary

aquarium

armory

art gallery

bakery

bank

barber

barracks

bathhouse

blacksmith

boathouse

book store

bookbinder

botanical garden

brothel

butcher

carpenter

cartographer

casino

castle

cobbler

coffee shop

council chamber

court house

crypt for the noble family

dentist

distillery

docks

dovecot

dyer

embassy

farmer's market

fighting pit

fishmonger

fortune teller

gallows

gatehouse

general store

graveyard

greenhouses

guard post

guildhall

gymnasium

haberdashery

haunted house

hedge maze

herbalist

hospice

hospital

house for sale

inn

jail

jeweller

leatherworker

library

locksmith

mail courier

manor house

market

mayor's house

monastery

morgue

museum

music shop

observatory

orchard

orphanage

outhouse

paper maker

pawn shop

pet shop

potion shop

potter

printmaker

quest board

residence

restricted zone

sawmill

school

scribe

sewer entrance

sheriff's office

shrine

silversmith

spa

speakeasy

spice merchant

sports stadium

stables

street market

tailor

tannery

tavern

tax collector

tea house

temple

textile shop

theatre

thieves guild

thrift store

tinker's workshop

town crier post

town square

townhall

toy store

trinket shop

warehouse

watchtower

water mill

weaver

well

wind mill

wishing well

wizard tower

#writing tips

[spinanotherstory]

"Character doesn't act traumatized"

The flaw with the criticism of "this character isn't acting traumatized, you need to show how this event changed them" is that a lot of people experience EXTREME traumatic events and think it's normal. Their behavior might change in subtle ways, but they mostly just continue with their life.

This is especially true in children/young characters. See example here:

#writing tips

[spinanotherstory]

Hi! A million thanks for the fantastic writing advice you're constantly sharing! One thing I struggle with is writing anger. I write deep third person point of view, and I like to think I have a decent grasp on writing human emotions with all their nuances, but every time I work on dialogue scenes where my POV character's anger should be rising as the conversation spirals and the things said and done and the contexts and subtexts are too much for them to bear, I hit a wall. How on earth can I make that work? How do I bring across that anger, rage, maddening frustration as it's building up inside? How do I make the reader feel that? Any advice? :)

People express anger in different ways, so not all of my advice should apply to the same character. You decide how each character reacts to frustrating or enraging circumstances.

Basic Tips for Angry Dialogue

Make dialogue increasingly brief as your character gets angrier.

Sarcasm, answering questions with questions, and passive aggression.

Vague, noncommittal statements can indicate a person is frustrated but doesn't want to make a scene; e.g. "Sure, whatever."

Dares and accusations used as confrontation when someone is feeling angry or insecure.

Inciting conflict through insults or inflammatory speech in order to validate one's own hurt feelings.

Tonal cues like "grunted, snarled, huffed, barked, snickered" and adjectives like "terse, curt, cynical, flat, abrasive" will help when the dialogue alone is not conveying emotion.

Dialogue is not always an accurate interpretation of how they feel, especially if they are trying to mask or control their emotions. Remember, the fight is not just external, it is also building up inside the character(s) and you likely have a better idea how they feel than the reader will. Portraying anger well requires more attention to internal factors and body language than dialogue. I am sure you know this! I just try to keep my advice balanced.

---

+ Please review my pinned Ask Policy before sending in your ask. Thank you.

+ If you enjoy my blog and appreciate my advice, consider visiting my ko-fi and Buy Me A Coffee! Every cup matters to this writer 🤗

+ Follow me on AO3, and Unsplash for photo inspiration.

#writing tips

[spinanotherstory]

This isnt a joke my favorite piece of writing advice that I’ve ever seen is someone that said if you were stuck with a fic and couldn’t figure out why or what was wrong, your problem is actually usually about ten sentences back. Maybe there was something wonky about the tone or the dialogue or you added something that didn’t fit but it’s usually ten sentences back. And every single time I get stuck in a fic I count back ten sentences and it’s always fucking there

#writing tips

[spinanotherstory]

Enough random notes that have a written story on them as environmental storytelling, explore the space, get crazier with it.

You move into a house and aw cute, it has the kids height on the walls but you notice there's a three foot difference in height between measurements, you check the date, they're a month apart. The final measurement is on the ceiling. It's dated two days ago.

You're part of a recovery team that have finally found a stranded ship, they were found too late and have all passed a long time ago. They all died of starvation. You enter their storeroom, it's filled with food. In the dining hall you find the tables laden with perfectly fine looking breads, cakes, cured meats, jams, candies. Your medic says all the people sitting at the table didn't eat a Thing.

You wake up in an apocalypse. You can't find anyone at all as you wander the streets but you do hear faint music playing from somewhere. You stumble into a supermarket, to see all the aisles still full, except for the shelf that was full of ear plugs, which look to be the only thing that was looted.

Like there's light, sound, props. Having a street where every house is decimated except for One. Landing on a planet known for having No Water and a plant is growing and you don't know where it could have possibly gotten moisture from but you can't find the citizens Anywhere.

I'm sorry, I'm just kinda over the "graffiti on the wall to show the bad guy is around". That's not environmental storytelling that's just normal story. Show me I'm in the villains territory by the rain suddenly cutting out above me as I'm driving, even though it's meant to be raining all night. I park the car and step out, and realise the constellations are Wrong, until I see they're Not constellations, they're the blinking lights of a massive ship-

I Will stop now because everytime I go to write a sentence it devolves into another prompt but I'm just saying we have a Lot of senses, engage them, show me the Environment in environmental storytelling.

#writing tips

[spinanotherstory]

Horses: Since There Seems To Be A Knowledge Gap

I'm going to go ahead and preface this with: I comment pretty regularly on clips and photos featuring horses and horseback riding, often answering questions or providing explanations for how or why certain things are done. I was a stable hand and barrel racer growing up, and during my 11 year tenure on tumblr, Professional Horse Commentary is a very niche, yet very necessary, subject that needs filling. Here are some of the literary and creative gaps I've noticed in well meaning (and very good!) creators trying to portray horses and riding realistically that... well, most of you don't seem to even be aware of, because you wouldn't know unless you worked with horses directly!

Some Of The Most Common Horse + Riding Mistakes I See:

-Anybody can ride any horse if you hold on tight enough/have ridden once before.

Nope. No, no, no, no, aaaaaaaand, no. Horseback riding has, historically, been treated as a life skill taught from surprisingly young ages. It wasn't unusual in the pre-vehicular eras to start teaching children as young as 4 to begin to ride, because horses don't come with airbags, and every horse is different. For most adults, it can take months or years of regular lessons to learn to ride well in the saddle, and that's just riding; not working or practicing a sport.

Furthermore, horses often reject riders they don't know. Unless a horse has been trained like a teaching horse, which is taught to tolerate riders of all skill and experience levels, it will take extreme issue with having some random person try to climb on their back. Royalty, nobility, and the knighted classes are commonly associated with the "having a favorite special horse" trope, because it's true! Just like you can have a particularly special bond with a pet or service animal that verges on parental, the same can apply with horses. Happy horses love their owners/riders, and will straight-up do their best to murder anyone that tries to ride them without permission.

-Horses are stupid/have no personality.

There isn't a more dangerous assumption to make than assuming a horse is stupid. Every horse has a unique personality, with traits that can be consistent between breeds (again, like cat and dog breeds often have distinct behavior traits associated with them), but those traits manifest differently from animal to animal.

My mother had an Arabian horse, Zipper, that hated being kicked as a signal to gallop. One day, her mom and stepdad had a particularly unpleasant visitor; an older gentleman that insisted on riding Zipper, but refused to listen to my mother's warnings never to kick him. "Kicking" constitutes hitting the horse's side(s) with your heels, whether you have spurs on or not. Most horses only need a gentle squeeze to know what you want them to do.

Anyway, Zipper made eye-contact with my mom, asking for permission. He understood what she meant when she nodded at him. He proceeded to give this asshole of a rider road rash on the side of the paddock fence and sent him to the emergency room. He wouldn't have done it if he didn't have the permission from the rider he respected, and was intelligent enough to ask, "mind if I teach this guy a lesson?" with his eyes, and understand, "Go for it, buddy," from my mom in return.

-Riding bareback is possible to do if you hold onto the horse's mane really tight.

Riding a horse bareback (with no saddle, stirrups, or traditional harness around the horse's head) is unbelievably difficult to learn, particularly have testicles and value keeping them. Even professional riders and equestrians find ourselves relying on tack (the stuff you put on a horse to ride it) to stay stable on our horses, even if we've been riding that particular horse for years and have a very positive, trusting relationship.

Horses sweat like people do. The more they run, the more their hair saturates with sweat and makes staying seated on them slippery. Hell, an overworked horse can sweat so heavily that the saddle slips off its back. It's also essential to brush and bathe a horse before it's ridden in order to keep it healthier, so their hair is often quite slick from either being very clean or very damp. In order to ride like that, you have to develop the ability to synchronize your entire body's rhythm's with the rhythm of the horse's body beneath you, and quite literally move as one. Without stirrups, most people can't do it, and some people can never master bareback riding no matter how many years they spend trying to learn.

-You can be distracted and make casual conversation while a horse is standing untethered in the middle of a barn or field.

At every barn I've ever worked at, it's been standard practice with every single horse, regardless of age or temperament, to secure their heads while they're being tacked up or tacked down. The secures for doing this are simple ropes with clips that are designed to attach to the horse's halter (the headwear for a horse that isn't being ridden; they have no bit that goes in the horse's mouth, and no reins for a rider to hold) on metal O rings on either side of the horse's head. This is not distressing to the horse, because we give them plenty of slack to turn their heads and look around comfortably.

The problem with trying to tack up an unrestrained horse while chatting with fellow stable hands or riders is that horses know when you're distracted! And they often try to get away with stuff when they know you're not looking! In a barn, a horse often knows where the food is stored, and will often try to tiptoe off to sneak into the feed room.

Horses that get into the feed room are often at a high risk of dying. While extremely intelligent, they don't have the ability to throw up, and they don't have the ability to tell that their stomach is full and should stop eating. Allowing a horse into a feed/grain room WILL allow it to eat itself to death.

Other common woes stable hands and riders deal with when trying to handle a horse with an unrestrained head is getting bitten! Horses express affection between members of their own herd, and those they consider friends and family, through nibbling and surprisingly rough biting. It's not called "horseplay" for nothing, because during my years working with horses out in the pasture, it wasn't uncommon at all for me to find individuals with bloody bite marks on their withers (that high part on the middle of the back of their shoulders most people instinctively reach for when they try to get up), and on their backsides. I've been love-bitten by horses before, and while flattering, they hurt like hell on fleshy human skin.

So, for the safety of the horse, and everybody else, always make a show of somehow controlling the animal's head when hands-on and on the ground with them.

-Big Horse = War Horse

Startlingly, the opposite is usually the case! Draft and carriage horses, like Percherons and Friesians, were never meant to be used in warfare. Draft horses are usually bred to be extremely even-tempered, hard to spook, and trustworthy around small children and animals. Historically, they're the tractors of the farm if you could afford to upgrade from oxen, and were never built to be fast or agile in a battlefield situation.

More importantly, just because a horse is imposing and huge doesn't make it a good candidate for carrying heavy weights. A real thing that I had to be part of enforcing when I worked at a teaching ranch was a weight limit. Yeah, it felt shitty to tell people they couldn't ride because we didn't have any horses strong enough to carry them due to their weight, but it's a matter of the animal's safety. A big/tall/chonky horse is more likely to be built to pull heavy loads, but not carry them flat on their spines. Horses' muscular power is predominantly in their ability to run and pull things, and too heavy a rider can literally break a horse's spine and force us to euthanize it.

Some of the best war horses out there are from the "hot blood" family. Hot blooded horses are often from dry, hot, arid climates, are very small and slight (such as Arabian horses), and are notoriously fickle and flighty. They're also a lot more likely to paw/bite/kick when spooked, and have even sometimes been historically trained to fight alongside their rider if their rider is dismounted in combat; kicking and rearing to keep other soldiers at a distance.

-Any horse can be ridden if it likes you enough.

Just like it can take a lifetime to learn to ride easily, it can take a lifetime of training for a horse to comfortably take to being ridden or taking part in a job, like pulling a carriage. Much like service animals, horses are typically trained from extremely young ages to be reared into the job that's given to them, and an adult horse with no experience carrying a rider is going to be just as scared as a rider who's never actually ridden a horse.

Just as well, the process of tacking up a horse isn't always the most comfortable experience for the horse. To keep the saddle centered on the horse's back when moving at rough or fast paces, it's essential to tighten the belly strap (cinch) of the saddle as tightly as possible around the horse's belly. For the horse, it's like wearing a tight corset, chafes, and even leaves indents in their skin afterward that they love having rinsed with water and scratched. Some horses will learn to inflate their bellies while you're tightening the cinch so you can't get it as tight as it needs to be, and then exhale when they think you're done tightening it.

When you're working with a horse wearing a bridle, especially one with a bit, it can be a shocking sensory experience to a horse that's never used a bit before. While they lack a set of teeth naturally, so the bit doesn't actually hurt them, imagine having a metal rod shoved in your mouth horizontally! Unless you understand why it's important for the person you care about not dying, you'd be pretty pissed about having to keep it in there!

-Horseback riding isn't exercise.

If you're not using every muscle in your body to ride with, you're not doing it right.

Riding requires every ounce of muscle control you have in your entire body - although this doesn't mean it wasn't realistic for people with fat bodies to stay their weight while also being avid riders; it doesn't mean the muscles aren't there. To stay on the horse, you need to learn how it feels when it moves at different gaits (walk, trot, canter, gallop), how to instruct it to switch leads (dominant legs; essential for precise turning and ease of communication between you and the horse), and not falling off. While good riders look like they're barely moving at all, that's only because they're good riders. They know how to move so seamlessly with the horse, feeling their movements like their own, that they can compensate with their legs and waists to not bounce out of the saddle altogether or slide off to one side. I guarantee if you ride a horse longer than 30 minutes for the first time, your legs alone will barely work and feel like rubber.

-Horses aren't affectionate.

Horses are extraordinarily affectionate toward the right people. As prey animals, they're usually wary of people they don't know, or have only recently met. They also - again, like service animals - have a "work mode" and a "casual mode" depending upon what they're doing at the time. Horses will give kisses like puppies, wiggle their upper lips on your hair/arms to groom you, lean into neck-hugs, and even cuddle in their pasture or stall if it's time to nap and you join them by leaning against their sides. If they see you coming up from afar and are excited to see you, they'll whinny and squeal while galloping to meet you at the gate. They'll deliberately swat you with their tails to tease you, and will often follow you around the pasture if they're allowed to regardless of what you're up to.

-Riding crops are cruel.

Only cruel people use riding crops to hurt their horses. Spurs? I personally object to, because any horse that knows you well doesn't need something sharp jabbing them in the side for emphasis when you're trying to tell them where you want them to go. Crops? Are genuinely harmless tools used for signalling a horse.

I mean, think about it. Why would crops be inherently cruel instruments if you need to trust a horse not to be afraid of you and throw you off when you're riding it?

Crops are best used just to lightly tap on the left or right flank of the horse, and aren't universally used with all forms of riding. You'll mainly see crops used with English riding, and they're just tools for communicating with the horse without needing to speak.

-There's only one way to ride a horse.

Not. At. All. At most teaching ranches, you'll get two options: Western, or English, because they tend to be the most popular for shows and also the most common to find equipment for. English riding uses a thinner, smaller saddle, narrower stirrups, and much thinner bridles. I, personally, didn't like English style riding because I never felt very stable in such a thin saddle with such small stirrups, and didn't start learning until my mid teens. English style riding tends to focus more on your posture and deportment in the saddle, and your ability to show off your stability and apparent immovability on the horse. It was generally just a bit too stiff and formal for me.

Western style riding utilizes heavier bridles, bigger saddles (with the iconic horn on the front), and broader stirrups. Like its name may suggest, Western riding is more about figuring out how to be steady in the saddle while going fast and being mobile with your upper body. Western style riding is generally the style preferred for working-type shows, such as horseback archery, gunning, barrel racing, and even rodeo riding.

-Wealthy horse owners have no relationship with their horses.

This is loosely untrue, but I've seen cases where it is. Basically, horses need to feel like they're working for someone that matters to them in order to behave well with a rider and not get impatient or bored. While it's common for people to board horses at off-property ranches (boarding ranches) for cost and space purposes, it's been historically the truth that having help is usually necessary with horses at some point. What matters is who spends the most time with the animal treating it like a living being, rather than a mode of transport or a tool. There's no harm in stable hands handling the daily upkeep; hay bales and water buckets are heavy, and we're there to profit off the labor you don't want or have the time to do. You get up early to go to work; we get up early to look after your horses. Good owners/boarders visit often and spend as much of their spare time as they can with spending quality work and playtime with their horses. Otherwise, the horses look to the stable hands for emotional support and care.

So, maybe you're writing a knight that doesn't really care much for looking after his horse, but his squire is really dedicated to keeping up with it? There's a better chance of the horse having a more affectionate relationship with the squire thanks to the time the squire spends on looking after it, while the horse is more likely to tolerate the knight that owns it as being a source of discipline if it misbehaves. That doesn't mean the knight is its favorite person. When it comes to horses, their love must be earned, and you can only earn it by spending time with them hands-on.

-Horses can graze anywhere without concern.

This is a mistake that results in a lot of premature deaths! A big part of the cost of owning a horse - even before you buy one - is having the property that will be its pasture assessed for poisonous plants, and having those plants removed from being within the animal's reach. This is an essential part of farm upkeep every year, because horses really can't tell what's toxic and what isn't. One of the reasons it's essential to secure a horse when you aren't riding it is to ensure it only has a very limited range to graze on, and it's your responsibility as the owner/rider to know how to identify dangerous plants and keep your horses away from them.

There's probably more. AMA in my askbox if you have any questions, but that's all for now. Happy writing.

#writing tips #horses #long post

[spinanotherstory]

In writing, epithets ("the taller man"/"the blonde"/etc) are inherently dehumanizing, in that they remove a character's name and identity, and instead focus on this other quality.

Which can be an extremely effective device within narration!

They can work very well for characters whose names the narrator doesn't know yet (especially to differentiate between two or more). How specific the epithet is can signal to the reader how important the character is going to be later on, and whether they should dedicate bandwidth to remembering them for later ("the bearded man" is much less likely to show up again than "the man with the angel tattoo")

They can indicate when characters stop being as an individual and instead embody their Role, like a detective choosing to think of their lover simply as The Thief when arresting them, or a royal character being referred to as The Queen when she's acting on behalf of the state

They can reveal the narrator's biases by repeatedly drawing attention to a particular quality that singles them out in the narrator's mind

But these only work if the epithet used is how the narrator primarily identifies that character. Which is why it's so jarring to see a lot of common epithets in intimate moments-- because it conveys that the main character is primarily thinking of their lover/best friend/etc in terms of their height or age or hair color.

#writing tips

[spinanotherstory]

"Astarion wouldn't be romantic" this "Astarion would give you massive flower bouquets" that

Where is the in-between

Where are the posts about Astarion, who has no frame of reference when it comes to romance, actually trying to learn it huh

#YES #bg3 #astarion ancunin #wyll ravengard #art

[spinanotherstory]

me: *writes fic*

me: great! time to post to ao3-

ao3 summary box: *exists*

me: 

ao3 summary box:

me:

ao3 summary box: 

me:

#writing tips

[spinanotherstory]

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

D - Abigail, Agnes, Amy, Augusta, Barbara, Betsy*, Betty*, Cecilia, Christiana, Clarissa, Deborah, Diana, Dinah, Dorothy, Emily, Emma, Georgiana, Helen, Janet^, Joanna, Johanna, Judith, Julia, Kezia, Kitty*, Letitia, Nancy*, Ruth, Winifred>

E - Arabella, Celia, Charity, Clara, Cordelia, Dorcas, Eve, Georgina, Honor, Honora, Jennet^, Jessie*^, Joan, Joyce, Juliana, Juliet, Lavinia, Leah, Margery, Marian, Marianne, Marie, Mercy, Miriam, Naomi, Patience, Penelope, Philadelphia, Phillis, Prudence, Rhoda, Rosanna, Rose, Rosetta, Rosina, Sabina, Selina, Sylvia, Theodosia, Theresa

F - (selected) Alicia, Bethia, Euphemia, Frederica, Helena, Leonora, Mariana, Millicent, Mirah, Olivia, Philippa, Rosamund, Sybella, Tabitha, Temperance, Theophila, Thomasin, Tryphena, Ursula, Virtue, Wilhelmina

G - (selected) Adelaide, Alethia, Angelina, Cassandra, Cherry, Constance, Delilah, Dorinda, Drusilla, Eva, Happy, Jessica, Josephine, Laura, Minerva, Octavia, Parthenia, Theodora, Violet, Zipporah

H - Alberta, Alexandra, Amber, Ashley, Calliope, Calpurnia, Chloe, Cressida, Cynthia, Daisy, Daphne, Elaine, Eloise, Estella, Lilian, Lilias, Francesca, Gabriella, Genevieve, Gwendoline, Hermione, Hyacinth, Inez, Iris, Kathleen, Madeline, Maude, Melody, Portia, Seabright, Seraphina, Sienna, Verity

Men's Names

S+ John, William, Thomas

S - James, George, Joseph, Richard, Robert, Charles, Henry, Edward, Samuel

A - Benjamin, (Mother’s/Grandmother’s maiden name used as first name)#

B - Alexander^, Andrew, Daniel, David, Edmund, Francis, Frederick, Isaac, Matthew, Michael, Patrick~, Peter, Philip, Stephen, Timothy

C - Abraham, Anthony, Christopher, Hugh>, Jeremiah, Jonathan, Nathaniel, Walter

D - Adam, Arthur, Bartholomew, Cornelius, Dennis, Evan>, Jacob, Job, Josiah, Joshua, Lawrence, Lewis, Luke, Mark, Martin, Moses, Nicholas, Owen>, Paul, Ralph, Simon

E - Aaron, Alfred, Allen, Ambrose, Amos, Archibald, Augustin, Augustus, Barnard, Barney, Bernard, Bryan, Caleb, Christian, Clement, Colin, Duncan^, Ebenezer, Edwin, Emanuel, Felix, Gabriel, Gerard, Gilbert, Giles, Griffith, Harry*, Herbert, Humphrey, Israel, Jabez, Jesse, Joel, Jonas, Lancelot, Matthias, Maurice, Miles, Oliver, Rees, Reuben, Roger, Rowland, Solomon, Theophilus, Valentine, Zachariah

F - (selected) Abel, Barnabus, Benedict, Connor, Elijah, Ernest, Gideon, Godfrey, Gregory, Hector, Horace, Horatio, Isaiah, Jasper, Levi, Marmaduke, Noah, Percival, Shadrach, Vincent

G - (selected) Albion, Darius, Christmas, Cleophas, Enoch, Ethelbert, Gavin, Griffin, Hercules, Hugo, Innocent, Justin, Maximilian, Methuselah, Peregrine, Phineas, Roland, Sebastian, Sylvester, Theodore, Titus, Zephaniah

H - Albinus, Americus, Cassian, Dominic, Eric, Milo, Rollo, Trevor, Tristan, Waldo, Xavier

& 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].

#fascinating #writing tips

[spinanotherstory]

I have … a tip.

If you’re writing something that involves an aspect of life that you have not experienced, you obviously have to do research on it. You have to find other examples of it in order to accurately incorporate it into your story realistically.

But don’t just look at professional write ups. Don’t stop at wikepedia or webMD. Look up first person accounts.

I wrote a fic once where a character has frequent seizures. Naturally, I was all over the wikipedia page for seizures, the related pages, other medical websites, etc.

But I also looked at Yahoo asks where people where asking more obscure questions, sometimes asked by people who were experiencing seizures, sometimes answered by people who have had seizures.

I looked to YouTube. Found a few individual videos of people detailing how their seizures usually played out. So found a few channels that were mostly dedicated to displaying the daily habits of someone who was epileptic.

I looked at blogs and articles written by people who have had seizures regularly for as long as they can remember. But I also read the frantic posts from people who were newly diagnosed or had only had one and were worried about another.

When I wrote that fic, I got a comment from someone saying that I had touched upon aspects of movement disorders that they had never seen portrayed in media and that they had found representation in my art that they just never had before. And I think it’s because of the details. The little things.

The wiki page for seizures tells you the technicalities of it all, the terminology. It tells you what can cause them and what the symptoms are. It tells you how to deal with them, how to prevent them.

But it doesn’t tell you how some people with seizures are wary of holding sharp objects or hot liquids. It doesn’t tell you how epileptics feel when they’ve just found out that they’re prone to fits. It doesn’t tell you how their friends and family react to the news.

This applies to any and all writing. And any and all subjects. Disabilities. Sexualities. Ethnicities. Cultures. Professions. Hobbies. Traumas. If you haven’t experienced something first hand, talk to people that have. Listen to people that have. Don’t stop at the scholarly sources. They don’t always have all that you need.

#writing tips

[spinanotherstory]

i love your takeaway from the JJ Abrams Mystery Box was "it's because what's in the mystery box is developed/good/exists. you wouldn't get it."

It only works if you set up several conflicting theories as to what is in the mystery box that are all equally plausible. The audience has to feasibly be able to reach the "correct" answer, but they can never be sure. That's intrigue! Otherwise, all you're doing is telling the audience that a really deep and well written story is happening just off screen I promise.

One of the writers of LOST came to speak at my school once. He told the crowd "I could totally tell you guys what the island is but I'm not gonna" And the crowd went nuts. That shit made me so mad. It has been a decade since that show went off the air. If you had an actually narratively satisfying answer for that question, you would have said it by now. Or better, you would have put it in the damn show.

#writing tips #long post