Crafting Authentic and Dynamic Female Characters in Historical Fiction

Crafting Authentic and Dynamic Female Characters in Historical Fiction

Crafting Authentic and Dynamic Female Characters in Historical Fiction

Character development

In the world of historical fiction, the portrayal of characters is a captivating art form. Historical figures, just like people today. So based on the condition that this holds true for both men and women, authors need to build intricate layers of complexity, encompassing their thoughts, emotions, desires, and beliefs.

However, the first thing to remember when it comes to creating strong and compelling female characters in historical fiction is that writers, regardless of their gender, often find it difficult to depict characters of the opposite sex with authenticity and nuance. But, don’t let this put you off. Men can write with authenticity about women and women can write authentically about men. To truly bring historical female characters to life, it is essential to delve deep into their psyche and imbue them with the richness and depth they deserve. This blog post aims to explore effective techniques for developing multidimensional and well-rounded female characters within the historical fiction genre.

One crucial aspect of character development is ensuring that your characters possess the same level of complexity as people in contemporary society. They should think, feel, and possess a compelling backstory, desires, and beliefs. By doing so, readers can relate to them on a profound and genuine level, transcending the barriers of time and culture.

The Big Five – Writing Strong Female Characters

Category:Big five personality traits - Wikimedia Commons

As you embark on the journey of crafting authentic female characters, consider examining where they stand on the Big Five Personality Traits – a model widely used in psychology to assess human personality. These traits include:

  1. Openness: How receptive is your character to new experiences, ideas, and perspectives? Are they curious and intellectually adventurous? Weaving these traits into their narrative can make them relatable and engaging.
  2. Conscientiousness: Does your character display traits of being organized, responsible, and self-disciplined? Are they meticulous in their actions and possess a strong sense of duty? Exploring the impact of conscientiousness on their decisions and interactions can add depth to their portrayal.
  3. Extraversion: Is your character outgoing, sociable, and energized by social interactions? Or do they lean towards introversion, finding solace in introspection and personal reflection? By understanding their position on this spectrum, you can create realistic dynamics within their relationships and social environments.
  4. Agreeableness: How compassionate, cooperative, and empathetic is your character? Are they inclined towards altruism and forming harmonious connections with others? Delving into their agreeableness can reveal their motivations, conflicts, and potential for growth.
  5. Neuroticism: Does your character experience emotional instability, anxiety, or mood swings? Alternatively, are they characterized by emotional stability and resilience? Exploring their emotional landscape can provide a profound insight into their reactions to adversity and their overall character development.

By thoughtfully considering these personality traits, you can infuse your historical female characters with authenticity, allowing them to resonate with readers on a deep and meaningful level. Remember, just as people today, historical figures deserve to be portrayed as complex individuals with their own hopes, fears, and aspirations.

On the whole, it must be said that writing historical fiction is an opportunity to breathe life into the past, bridging the gap between eras and cultures. By creating compelling and well-rounded female characters, you can offer readers a captivating journey through time while showcasing the strength, resilience, and complexity of women throughout history. So, embrace the challenge, dive into research, and let your characters shine as vibrant testaments to the enduring spirit of humanity.

Where would your characters fit in the Myres Briggs range of personality types?

Authenticity in Fiction & Realistic Portrayals

As an author venturing into the realm of historical fiction, my goal is to create believable characters that resonate with readers. To achieve this, I strive to develop multi-dimensional and well-rounded individuals who undergo significant growth and transformation throughout the course of the narrative. The challenges they face shape their reactions, choices, and dialogue, ultimately driving the story forward. See also: 10 Things That Turn Characters Bad.

True Essence

To effectively portray characters, it is essential to reveal their true essence to the reader. This requires a deep understanding of the characters themselves, as well as the dynamics at play within their relationships. While the characters may be unaware of certain aspects of their own personalities, the people around them often possess insights that shed light on these hidden traits. As the story unfolds, the characters embark on a journey of self-discovery, unearthing new aspects of themselves that influence their actions and words.

Self-Awareness

To truly show the reader who the characters are, it is crucial for the actors (the characters themselves) to possess self-awareness. They must grapple with their own strengths, weaknesses, desires, and fears, allowing these elements to shape their behaviour and decision-making. By delving into the depths of their psyches, I can present characters that feel authentic and relatable.

Character Arcs

In order to bring these multi-dimensional characters to life, I believe in the power of character arcs. Over the course of the story, the obstacles I place before them serve as catalysts for change. As they confront and overcome these challenges, they evolve and grow, ultimately transforming into individuals with newfound wisdom and resilience. These arcs allow readers to witness the characters’ development and connect with their journey on a profound level.

By staying true to their personalities and giving them room to grow organically, I can craft narratives that resonate with readers, offering a compelling and immersive experience.

Bring the Past to Life

In the realm of historical fiction, the characters become conduits through which the past comes alive. By revealing their complexities, vulnerabilities, and self-discovery, I hope to captivate readers and provide them with a window into the human condition. The journey of self-understanding, both for the characters and the readers, becomes an enthralling exploration of the intricate web of humanity.


Using a Johari Window – Nuanced Character Development

Writing Multidimensional Characters

When it comes to developing authentic and relatable characters in historical fiction, the Johari Window can serve as a valuable tool. This psychological concept illustrates the different aspects of self-awareness and knowledge that characters possess throughout their journey. By understanding this framework, we can effectively showcase character growth and create engaging narratives.

The Open Pane

In the open pane of the Johari Window, we find the aspects known to both the character and others. These elements are the foundation of the character’s personality and are typically evident in their actions, thoughts, and interactions. By establishing this shared knowledge, we provide readers with a clear understanding of the character’s motivations, strengths, and weaknesses.

The Closed Panes

However, there are also aspects known only to the character themselves. These hidden traits, desires, and fears shape the character’s internal world. Exploring these facets of their personality allows for deeper character development and creates opportunities for self-discovery as the story progresses.

Conversely, there are elements known by others but not yet realized by the character. These insights held by secondary characters or even the reader can add depth and complexity to the narrative. They can act as mirrors, reflecting aspects of the character’s personality that they may be blind to, thereby facilitating growth and self-awareness.

Lastly, there are aspects that remain unknown to both the character and others. These represent the mysteries and revelations that the character will encounter on their journey. As they strive to achieve their desires and confront obstacles, they will unravel these hidden aspects, creating a compelling arc of self-discovery and transformation.

Establishing a Profound Desire or Goal

Mystery Man on Film: Character Goals

To give the character a strong starting point, it is essential to establish a profound desire or goal. This driving force will shape their actions and decisions throughout the story. Whether it’s Jane seeking love or Belle yearning for freedom, the character’s pursuit of their heart’s desires becomes a central focus. However, the path they choose and the choices they make are heavily influenced by the groundwork set in their characterization.

Moral Complexity & Personal Growth

Morally Grey Characters in Books // Why do they make such interesting characters+ book recommendations with such characters – BOOKATHON

It is true that contemporary women’s fiction, including historical and modern literary fiction, often features morally complex characters. These complex characters provide an avenue for extraordinary and unexpected actions, adding depth and intrigue to the narrative. However, it is important to remember that moral complexity should be balanced with authenticity and genuine character development. Your character’s choices should stem from their unique motivations and experiences, rather than being contrived for shock value alone.

That doesn’t mean you can’t develop a morally ‘grey’ character. Morally grey or morally ambiguous characters are those who are not like traditional heroes. They do or have done some morally questionable things whose consequences can make for fascinating reading.

By utilizing the Johari Window and understanding the character’s known and unknown aspects, we can delve into their psyche, emotions, and desires. This framework enables us to create characters who undergo transformative journeys, evolving in response to their challenges and self-discovery. Through thoughtful and nuanced storytelling, we can breathe life into historical figures, allowing readers to connect with their struggles, triumphs, and personal growth.


Memorable Female Characters

What sets apart beloved female characters in literature is their ability to overcome the hurdles society and their families place in their paths. By establishing clear goals and presenting formidable opposition, authors can create compelling narratives that resonate with readers. It is important to note that an attractive female character does not necessarily require a “bad-ass” attitude towards the law, but rather a tenacious spirit and the strength to face adversity head-on.

Strong Female Characters

Elizabeth Bennett

Take Elizabeth Bennett from Jane Austen’s Pride and Prejudice as an example. Her goal is to secure a marriage with the richest and most handsome man in town. However, her journey is packed with societal expectations, familial pressures, and her own personal biases. To achieve her goal, Elizabeth must challenge her own preconceived notions and navigate the complexities of relationships, ultimately finding love and happiness on her own terms.

Emma Harte

In Barbara Taylor Bradford’s A Woman of Substance, Emma Harte is driven by the ambition to build a business empire and achieve financial independence. Throughout her romantic ups and downs, she encounters numerous obstacles, including gender bias, societal norms, and personal sacrifices. Emma’s determination and resilience allow her to triumph over adversity, establishing a legacy that transcends societal expectations.

Jo March

Similarly, Louisa May Alcott’s Jo March in Little Women aspires to become a teacher and fulfil her writing ambitions. Jo faces challenges such as societal expectations for women, financial constraints, and personal growth. Through her perseverance and determination, Jo not only becomes a successful writer but also finds fulfilment in her personal life.

What makes these characters so well-loved?

What makes these characters so well-loved is their ability to confront and conquer the obstacles placed before them. Their goals are not easily achieved, requiring them to challenge societal norms, familial expectations, and their own limitations. These characters exhibit resilience, adaptability, and the courage to pursue their dreams despite the barriers they encounter.

In creating attractive female characters, it is important to develop well-defined goals that resonate with readers. These goals should be significant, reflecting the character’s desires, passions, or ambitions. By providing strong opposition, whether from society, family, or internal conflicts, authors can generate tension and engage readers in the character’s journey.

Rebel Without a Cause?

However, it is crucial to note that an attractive female character does not necessarily require a rebellious or “bad-ass” attitude towards the law. What truly captivates readers is a character’s depth, authenticity, and relatability. Their strength lies not only in their defiance of societal norms but also in their vulnerability, growth, and the complexity of their emotions.

So, as writers, let us craft female characters with compelling goals and formidable opposition. Let us explore the depths of their resilience, determination, and inner strength as they navigate a world that seeks to confine them. By depicting their journeys with authenticity and nuance, we can create memorable characters that inspire and resonate with readers for generations to come.


Angels are for heaven, not this earthly realm.

Embracing the Flaws: Crafting Complex and Human Characters

In the realm of storytelling, it is the imperfections and flaws that truly make characters come alive. Whether they are angelic or mortal, male or female, the strengths and weaknesses inherent in being human are what shape their narratives and make them intriguingly flawed. It is through these imperfections that characters find their relatability, growth, and ultimately, their memorable qualities.

While angels may symbolize purity and perfection in the heavenly realm, it is the flaws and complexities of human characters that captivate readers on this earthly plane. By embracing and exploring these imperfections, we breathe authenticity and depth into our characters, making them relatable and compelling.

Balancing Flaws and Strengths

Every human, regardless of gender, possesses a unique blend of strengths and weaknesses. These attributes define their character and shape their actions and decisions. However, it is important to remember that relying too heavily on strengths can lead to downfall, just as weaknesses can be a source of growth and resilience.

Crafting interestingly flawed characters involves balancing their strengths and weaknesses, allowing both to shape their journey. Characters who solely rely on their strengths may encounter situations that expose their vulnerabilities, forcing them to confront their limitations and reevaluate their choices. Conversely, characters who begin with apparent weaknesses can find unexpected reserves of strength and overcome seemingly insurmountable obstacles.

Opportunities for Growth

Flawed characters offer opportunities for growth, transformation, and compelling storylines. Their imperfections create internal and external conflicts, driving the narrative forward and providing readers with a genuine and relatable experience. As writers, we can explore the intricate interplay between strengths and weaknesses, showcasing the complexities of the human condition.

By giving our characters space to evolve and learn from their mistakes, we create narratives that reflect the real-world journey of self-discovery. Characters who acknowledge and address their flaws can experience profound growth, connecting with readers who see aspects of themselves within these struggles and triumphs.

So, as we embark on the task of crafting engaging characters, let us embrace their imperfections. Let us delve into their strengths and weaknesses, exploring the intricate dance between these qualities. By presenting characters who are flawed, yet compelling, we offer readers a mirror to their own human experiences, encouraging empathy, introspection, and an enduring connection to the story being told.

Fears and Weaknesses

Overcoming weaknesses could be the making of a remarkable historical character, so don’t think to create a sassy heroine she has to be macho or fearless.

The most common fears for women are pretty much the same as they have always been. Which of these fears are you going to challenge your female historical characters with?

  • not getting married or finding a life partner,
  • not having kids or losing a child,
  • getting old, maimed, or scarred,
  • being killed or raped,
  • being trapped in a loveless relationship,
  • being abandoned
  • ending up in poverty or dying alone.

Unveiling the Stakes: Empowering Historical Heroines

In the realm of historical fiction, the fate that awaits our heroines adds an element of intrigue and urgency to their narratives. As skilled writers, we have the power to create mesmerizing characters who utilize their strengths, weaknesses, and ingenuity to save themselves from their impending and often dire destinies.

It’s a High Stakes Game

One crucial aspect of storytelling is ensuring that the reader is aware of the high stakes faced by our historical heroines. By clearly communicating the potential consequences of failure, we heighten the tension and engage the reader on a profound emotional level. Whether it is the threat of societal ruin, loss of loved ones, or personal tragedy, the weight of their fate hangs in the balance.

Mesmerizing historical characters understand the gravity of their situations and use every tool at their disposal to overcome the challenges they encounter. They tap into their strengths, leveraging their unique abilities, talents, and resilience to navigate treacherous paths. Simultaneously, they acknowledge their weaknesses, recognizing areas where they must grow or seek assistance.

Ingenuity becomes a valuable ally in their journey.

Ingenuity becomes a valuable ally in their journey. These characters think creatively, seeking unconventional solutions to seemingly insurmountable obstacles. Their resourcefulness, adaptability, and strategic thinking enable them to outmanoeuvre their adversaries and alter their destinies.

By portraying heroines who actively shape their own narratives, we empower readers with a sense of agency and inspire them to face their own challenges with determination and courage. Witnessing the transformation of historical heroines as they defy their horrible fates instils hope and fuels a deep connection between the reader and the character.

Getting the Balance Right

However, it is essential to strike a delicate balance in portraying their struggles. While the stakes may be high, it is equally important to depict moments of vulnerability and emotional resonance. Readers are captivated by the multifaceted nature of characters who showcase a range of emotions, as it mirrors their own humanity. These authentic portrayals add depth and relatability, fostering a stronger connection between the reader and the heroine.

In the realm of historical fiction, we have the power to breathe life into captivating heroines who defy their predetermined fates. By clearly establishing the stakes, showcasing their strengths and weaknesses, and highlighting their ingenuity, we create narratives that grip readers and transport them to the past. These heroines inspire, empower, and ignite the imagination, leaving an indelible mark on the hearts and minds of those who embark on their extraordinary journeys.


Not the Prettiest Girl in Town

Characters we come to love are not the prettiest girls in town or the girls who never lose their temper.

Embracing Imperfections:

Complex and Resilient Historical Heroines

A point often overlooked is that the most beloved characters in literature are not always the prettiest or the ones who never lose their temper. Instead, it is their complexity, unique traits, and relatable flaws that captivate readers and make them truly unforgettable.

Take J.K. Rowling’s Hermione Granger, for example. She is a know-it-all, fiercely intelligent, and unafraid to showcase her vast knowledge. Rowling said the character of Hermione has several autobiographical influences: “I did not set out to make Hermione like me but she is a bit like me. She is an exaggeration of how I was when I was younger.” She recalled being called a “little know-it-all” in her youth. And she says that not unlike herself, “there is a lot of insecurity and a great fear of failure” beneath Hermione’s swottiness. Finally, according to Rowling, next to Albus Dumbledore, Hermione is the perfect expository character; because of her encyclopedic knowledge, she can always be used as a plot dump to explain the Harry Potter universe. Rowling also states that her feminist conscience is rescued by Hermione, “who’s the brightest witch of her age” and a “very strong female character.”

Dorothy L. Sayers’ Harriet Vane, a gawky and unorthodox bluestocking, faces false accusations of murder, demonstrating her resilience and determination. Vane, a mystery writer, initially meets Lord Peter Wimsey while she is on trial for poisoning her lover (Strong Poison).

Louisa May Alcott’s Jo March possesses a fearful temper. Second oldest of the four sisters, Jo is boy-like, the smartest, most creative one in the family; her father has referred to her as his “son Jo,” and her best friend and neighbour, Theodore “Laurie” Laurence, sometimes calls her “my dear fellow.”

On balance, historical women, much like their fictional counterparts, were multifaceted individuals with their own pride, intellect, ambitions, and flaws. They experienced pain, harboured hatred towards certain individuals, and were susceptible to the wounds inflicted upon them by society.

Incorporating these authentic emotions and qualities into your historical female characters brings them to life. They become relatable, tangible figures who bleed when pricked, figuratively speaking. These heroines, despite their imperfections, possess strength, resilience, and an indomitable spirit that allow them to navigate the challenges of their time.

Getting the Right Male Protagonist

If your historical female character finds herself as the sidekick to an all-conquering male protagonist, it is entirely valid for her to feel peeved and occasionally disrupt the narrative. These moments of rebellion and disruption can add depth to her character, highlighting her desires for autonomy and recognition.

By embracing the complexities of historical heroines, we pay homage to the diverse experiences and struggles faced by women throughout history. We acknowledge their desires, dreams, and ambitions, while also recognizing the obstacles and limitations imposed upon them.

So, as writers, let us celebrate the imperfections and complexities of our historical heroines. Let us create multidimensional characters who embody pride, intellect, and ambition, while also allowing them to experience a range of emotions and confront the injustices of their time. By doing so, we empower these characters and offer readers a rich tapestry of resilience, determination, and the indomitable spirit of women throughout history.


Unleashing the Unexpected: Surprising Character Journeys

As writers, one of the joys of storytelling is allowing our characters to surprise us and, in turn, surprise themselves. By turning the tables, flipping expectations, and making the seemingly impossible possible, we create narratives that captivate and engage readers.

In the creative process, it is essential to give our characters the space to grow, evolve, and challenge their own limits. We can achieve this by presenting them with unexpected situations, encouraging them to step outside their comfort zones and explore uncharted territory.

By letting our characters find their courage, they can overcome obstacles they never thought possible. This growth may emerge from fortuitous mistakes or taking advice that seems questionable at first. These moments of experimentation and risk-taking can lead to new perspectives, personal growth, and surprising triumphs.

However, on the negative side, growth often comes hand in hand with painful lessons. Our characters may be confronted by their own hypocrisy or face the consequences of their own actions. These moments of reckoning provide opportunities for introspection, self-reflection, and character development.

As the narrative unfolds, characters may stumble upon secrets that grant them power over others. This newfound knowledge can test their morality, leading them into temptation and challenging their integrity. How they handle these temptations reveals aspects of their character and provides rich opportunities for exploration.

By allowing our characters to surprise themselves, we create a sense of authenticity and depth. Just like real people, they are complex beings who navigate their own journeys of self-discovery. Through their choices and actions, they reveal their true nature and uncover hidden strengths and vulnerabilities.

As writers, we are guides and witnesses to these character transformations. We set the stage, present the challenges, and watch as our characters navigate their paths. By relinquishing control to some extent and allowing the characters to surprise us, we create narratives that are dynamic, unpredictable, and resonate deeply with readers.

So, let us embrace the unexpected in our storytelling. Lead our characters into uncharted territory, challenge their beliefs, and watch as they evolve and surprise themselves. By doing so, we create narratives that are vibrant, authentic, and reflect the rich tapestry of the human experience.


About the Author

Julia Herdman’s historical fiction novel, Sinclair is a captivating story set in the late 18th century, with strong female leads and themes of love, loss, redemption, and personal growth. The backdrop of 18th-century London, with its stark contrasts between the rich and the poor, adds depth and richness to the narrative. The book immerses readers in a world where compassion and kindness coexist with ambition, conflict, and temptation.

Through the experiences of the prodigal son, James Sinclair, who undergoes a transformative journey after a shipwreck, the novel explores themes of remorse, restitution, and recovery. The twists and tragedies encountered by the characters further enhance the depth of the story.

Sinclair offers readers a glimpse into the society and challenges of the 18th century while leaving them with a sense of fulfilment and positivity. It is a testament to the human spirit and the possibilities for growth and redemption that exist within us all.

Sinclair by Julia Herdman is available on Amazon.

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For more tips on writing see:

Six Rules for Writing Historical Fiction

The Present Past – Writing History

10 Things That Turn a Character Bad

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How to Write Historical Fiction

10 Things That Turn a Character Bad

10 Things That Turn a Character Bad

10 Things that turn a character bad

All great stories have baddies. Baddies or antagonists are the characters who get in your hero or heroine’s way. They create conflict and problems – all the things readers love. Evil villains help create a story that is exciting and sometimes even scary.  Evil is up there with Love, Death, Beauty, Friendship, and Fate. Sooner or later we encounter at least a few of them in a good story. Here are 10 ways you can turn a character bad as a writer.

1. Bad Parents

When King Minos became king of Crete he challenged his brother to a dual. He prayed to Poseidon, the sea god for some help. Poseidon sent him a snow-white bull. The deal was that the king had to kill the bull to show honour to the gods, but he decided to keep it and kill one of his own bulls. To punish Minos, Poseidon made Pasiphaë, Minos’s wife, fall deeply in love with the bull. She was so in love that she had craftsman Daedalus make a hollow wooden cow, then she climbed inside it in order to mate with the white bull. The offspring was the monstrous Minotaur. Pasiphaë nursed him, and as he grew he became ferocious and started to eat people. Minos went to the oracle at Delphi for advice on how to handle his monstrous son. He had Daedalus construct a gigantic labyrinth to hold the Minotaur under the palace.

Deviant parents give a character a bad start in life as the Greeks knew all too well!

American author Ray Bradbury gave the theme a modern twist with his short story The Veldt in 1950.

The Hadley family live in an automated house called “The Happylife Home,” filled with machines that do every task. The two children, Peter and Wendy, become fascinated with the “nursery,” a virtual reality room able to reproduce any place they imagine.

The parents, George and Lydia, begin to wonder if there is something wrong with their way of life.

Lydia tells George, “That’s just it. I feel like I don’t belong here. The house is wife and mother now, and nursemaid. Can I compete with an African veldt? Can I give a bath and scrub the children as efficiently or quickly as the automatic scrub bath can? I cannot.”

They are also perplexed and confused as to why the nursery is stuck on an African setting, with lions in the distance, eating a dead figure. There they also find recreations of their personal belongings and hear strangely familiar screams. Wondering why their children are so concerned with this scene of death, they decide to call a psychologist.

The psychologist, David McClean, suggests they turn off the house, move to the country, and learn to be more self-sufficient.

The children, feeling reliant on the nursery, beg their parents to let them have one last visit. Their parents agree and when they come to fetch them, the children lock George and Lydia into the nursery with the pride of lions. Shortly after, it is implied that the lions eat George and Lydia.

When the psychologist comes by to look for George and Lydia, he finds the children enjoying lunch on the veldt and sees the lions eating figures in the distance – George and Lydia, the reader is lead to presume.

2. Favouritism

 

Favouritism is a commonly used trope in Fiction Land. Bad enough when you’re an only child, but if you’re among a pack of siblings, this particular trope is nearly guaranteed to raise its head at some point in order to make life even more difficult.
Parental Favouritism is just what it sounds like — one child is given preference over their siblings.

Cain and Abel were sons of Adam and Eve in the biblical Book of Genesis. Cain, the firstborn, tilled the soil, and his brother Abel was a shepherd. The brothers made sacrifices to God, each of his own produce, but God favoured Abel’s sacrifice instead of Cain’s. Cain murdered Abel.

God punished Cain with a life of wandering and set a mark on him so that no man would kill him. Cain then dwelt in the land of Nod where he built a city and fathered the line of descendants beginning with Enoch. The narrative never explicitly states Cain’s motive though it does describe him as being wrathful, and his motive is traditionally assumed to be envy.

This biblical story and archetype of brothers locked in dual for their father’s affection is the basis for many a story and many a baddie. Sibling rivalry, envy, and wrath can motivate a character to a lot of very bad behaviour.

Favourites come in a number of varieties: Birth Order, Gender, Personality, Biological versus Adopted or Step Children – just think of all those fairy stories!

3. Lust

 

Way back in Ancient Greece King Tereus of Trace takes his wife Procne and her sister Philomela to visit their father in Athens. On the way, he lusts after Philomela. One night he rapes her. To stop her telling his wife he cuts out her tongue.

Those Greeks sure knew how to do baddies. Here sexual desire, power, and guilt are the key motivators along with a good dollop of misogyny.

4. Revenge

Continuing the story of the now mute Philomela; she weaves a tapestry that tells her story. When her sister finds out what has happened she kills her son by Tereus; boils him up and serves him up to his father for dinner. Philomela is turned into a Nightingale and given a beautiful voice by the gods to make amends for her terrible ordeal.

Yes, this is an extreme case and the origin of the expression revenge is a dish best served cold. Your characters don’t have to murder children to get their revenge putting rotting shrimps in the air conditioning ducts of his nice new apartment might be enough revenge for a women spurned.

 

5. Greed

Shakespeare’s Lady Macbeth couldn’t just be happy with her Scottish castle and thanedom, could she?

“Glamis thou art, and Cawdor, and shalt be
What thou art promised. Yet do I fear thy nature;
It is too full o’ th’ milk of human kindness
To catch the nearest way. Thou wouldst be great,
Art not without ambition, but without
The illness should attend it. (1.5.15-20)

After reading the letter from her husband which recounts the witches’ prophesy, Lady Macbeth’s thoughts immediately turn to murder. Problem: Her husband Macbeth has ambition, but he doesn’t have the nerve to see it through. Luckily Lady Macbeth is man enough for both of them.

The novel, The Maltese Falcon, by Dashiell Hammett, begins when the knockout Miss Wonderly walks into Spade’s office. It turns out she’s a knockout with money. And she wants to hire the services of a private detective to find her missing sister, who supposedly ran off with a crook named Thursby. Neither Spade nor his partner Miles Archer, buy her story. But with the money she’s paying, who cares? When Archer and then Thursby are murdered, Spade realizes that he’s getting more than he bargained for. In fact, just about everyone around Sam Spade dies trying to get their hands on a bird figurine worth…$10,000.

Is the love of money the root of all evil? Charles Dickens thought so. Unlike Hammet he saves his character Scrooge from his lonely fate when the author shows him what happens to greedy and selfish men – that it when the author isn’t bumping them off at a rate of knots!

6. Rejection

 

This terribly sad true-life story shows just what can happen when someone feels rejected. Rejection is painful. Being made to look worthless is a frightening experience so rejection can be a powerful motivation for baddies. Children rejected by their parents are often lonely, angry and hostile to a world they perceive does not love them.

Because being left out can be so painful for children, researchers have spent a lot of time and effort trying to figure out why some children are rejected. About half of rejected boys are aggressive. They hit, kick, or shove more than other boys, and they also tend to be more disruptive and argumentative. However, not all rejected boys are aggressive. Another 13-20% are shy and withdrawn. Still, others are socially awkward. Their odd, disruptive, or immature behaviour is off-putting to peers.

The son of a Hollywood assistant director went on a shooting rampage near the UC Santa Barbara campus slaying 6 people and engaging in a shootout with police which left him dead. The young man was 22-year-old Elliot Rodger, the son of Hunger Games second unit director Peter Rodger. Prior to the rampage, Rodger submitted recordings to Youtube, chronicling his catastrophic emotional state after admittedly being rejected by women for eight years.

 

7. Feeling Invisible

In 1917, “Baby Jane” Hudson is an adored yet ill-tempered vaudevillian child star while her older sister Blanche lives in her shadow. By 1935, their fortunes have reversed: Blanche is a successful film actress and Jane lives in obscurity, her films having failed.

One night, Jane mocks Blanche at a party, prompting Blanche to run away in tears. That same night, Blanche is paralysed from the waist down in a mysterious car accident that is unofficially blamed on Jane, who is found three days later in a drunken stupor.

In 1962 a wheelchair-bound Blanche (Joan Crawford) and Jane (Bette Davis) are living together in Blanche’s mansion, purchased with Blanche’s movie earnings. By now, Jane has descended into alcoholism and mental illness and treats Blanche with cruelty to punish her for stealing her spotlight.

Later, when Blanche informs Jane she may be selling the house, Jane’s mental health begins to deteriorate further. During an argument, she removes the telephone from Blanche’s bedroom, cutting Blanche off from the outside world.

Jane begins denying Blanche food, until she serves Blanche her dead parakeet on a platter—and, at a later meal, a rat that she killed in the cellar. Jane kills Blanche’s carer and then drives to the beach where she finally goes bonkers as the police arrive to arrest her for the carer’s death and Blanche dies.

This is a powerful case of sibling rivalry, ambition, and ego. The story of these sisters shows just how powerful these motivators can be in the hands of a great writer. What Ever Happened to Baby Jane? is a 1962 American psychological thriller–horror film produced and directed by Robert Aldrich, starring Bette Davis and Joan Crawford. The screenplay by Lukas Heller is based on the 1960 novel of the same name by Henry Farrell. Upon the film’s release, it was met with widespread critical and box office acclaim and was later nominated for five Academy Awards, winning one for Best Costume Design, Black and White.

8. Being Thwarted

 

Varys & Petyr Baelish Speak – Game of Thrones

Lord Varys: Thwarting you has never been my primary ambition, I promise you. Although, who doesn’t like to see their friends fail now and then.

Petyr ‘Littlefinger’ Baelish: You’re so right. For instance, when I thwarted your plan to give Sansa Stark to the Tyrells, if I’m going, to be honest, I did feel an unmistakable sense of enjoyment there. Game of Thrones (TV Series), The Climb (2013)

Varys and Littlefinger may seem to be minor players — but the maneuverings of the noble families of Westeros often seem to come back to their ongoing chess game. Varys and Littlefinger articulate two very different philosophies. Lord Petyr Baelish, popularly called Littlefinger, was the Master of Coin on the Small Council under King Robert Baratheon and King Joffrey Baratheon. He was a skilled manipulator and used his ownership of brothels in King’s Landing to both accrue intelligence on political rivals and acquire vast wealth. Baelish’s spy network is eclipsed only by that of his arch-rival Varys.

Love them or hate them, Littlefinger and Varys are the series’ real game changers. They also take the reality TV show approach to competition, forming alliances, lying, and manipulating. Basically, they aren’t here to make friends. They are here to win. But, winning means different things to the two characters and the more they can thwart the other the better.

 

9. Lies and Betrayal

In the song made famous by Tom Jones the price for lies is death – ‘I felt the knife in my hand and she laughed no more, why, why Delilah?’  The biblical Delilah was approached by the lords of the Philistines, to discover the secret of Samson’s strength. She was offered eleven hundred pieces of silver for her pains. Three times she asked Samson for the secret of his strength but each time he gave her a false answer. On the fourth occasion, he gave her the true reason: that he did not cut his hair in fulfillment of a vow to God. When he was asleep she allowed his enemies to cut off his hair. They took him, put out his eyes, and bound him with fetters. Later, of course, he took his revenge by bringing the whole house down on his foes.

Betrayal destroys trust. If a loved one betrays us it crushes our faith in ourselves and others. The world and everyone in it can become an ugly place to live in. Betrayal is a particularly effective emotion-filled type of conflict that we can use in fiction to create long-lasting problems for our characters.

10. Being a Psychopath

Characteristics of a psychopath: glibness and superficial charm, grandiose sense of self-worth, pathological lying, cunning/manipulative, lack of remorse, emotional shallowness, callousness and lack of empathy, unwillingness to accept responsibility for actions, a tendency to boredom, a parasitic lifestyle, a lack of realistic long-term goals, impulsivity, irresponsibility, lack of behavioural control, behavioural problems in early life, juvenile delinquency, criminal versatility, a history of “revocation of conditional release” (i.e. broken parole), multiple marriages, and promiscuous sexual behaviour.

A recent study suggests that 1-4% of the population is on the psychopathic scale. This means that we’ll probably all meet at least one psychopath in our lives.

Psychopaths love themselves. Even if nobody else loves them. They’ll think they’re the best at whatever it is that they do, even if they suck at it. It’s entirely possible they’ll take credit for other people’s success too – they live vicariously and will work how a way to feel they contributed to it somehow. Ultimately, their world revolves around them and no one else. Psychopaths are great characters to write as they give you so much scope for upsetting others and it’s so rewarding when, as an author, you can give them their comeuppance.

About the author: Julia Herdman writes historical fiction. Her debut novel Sinclair is available worldwide on Amazon.

Sinclair/TalesofTooleyStreet

 

 

Women and Sex in the 18th Century

Women and Sex in the 18th Century

DEATH OF WOMEN

Women, Sex and the Age of Marriage

  • In the 18th century, marriage was based on puberty onset. Girls as young as 12 and boys around 14 could marry. Childhood was virtually nonexistent; children were seen as “little adults,” born sinful and prone to fleshly temptations.
  • The Statute of Westminster in 1275 was the first age-of-consent law. It criminalized relations with a “maiden within age,” like 9-year-old Mary Hathaway in Virginia in 1689.
  • Similar practices existed in American colonies and Europe. The French Revolution set the age of consent at just 11 in 1791, showing disregard for children’s rights.
  • Marriage was seen as protection against prostitution or destitution for girls. Yet, many girls were forced into early marriages.

Women and Sex in 18th-Century France

The Women Of The French Revolution Who Had A Weirdly Morbid Pastime

  • Despite the ideals of liberty, equality, and fraternity brought about by the French Revolution, it failed to protect women’s rights.
  • In 1791, the age of consent for girls was shockingly set at 11 years, showing a lack of empathy for young girls.
  • Children were viewed as miniature adults, vulnerable to exploitation. Young girls were forced into marriages, disregarding their well-being.
  • Despite some women’s active participation, progress for women’s rights was slow during the revolution.
  • Women were confined to domestic roles, and their voices were overshadowed by male dominance.
  • Sadly, the French Revolution did not bring significant advancements in women’s rights.
  • Only in later centuries, with feminist movements and evolving norms, did progress take shape.

 

Women, Sex and the Job Market

Lichfield Storytellers bringing tales of historical characters to life at city museum - Lichfield Live®

  • In the 18th century, women’s job opportunities were severely limited. Laws and conventions barred them from most professions, forcing many into the sex trade for survival.
  • Independence was a distant dream for most women. They relied on family or husbands for financial support, losing ownership of inherited property upon marriage.
  • With few viable options, sex work became a means of sustenance for thousands of women. Prostitution thrived in bustling cities like London and Paris, offering anonymous encounters to passersby.
  • Charlotte Hayes was among the few who controlled their assets in the sex trade. Her successful brothel provided elite clients with well-trained women.
  • Despite some women finding advantages, many faced exploitation. The infamous Harris’ List detailed London prostitutes’ attributes, exposing their harsh reality.
  • While the Victorian era brought changes in societal attitudes, underground sex work persisted.

Women, Sex and Hogarth

The Harlots Progress ensnared by a procuress, from The Works of Hogarth published London 1833 (bw engraving)

  • In 1732, William Hogarth’s “The Harlot’s Progress,” a series of six paintings, vividly depicts the tragic life of Moll Hackabout, a young woman descending into prostitution. This series marked a turning point in British visual culture and Hogarth’s career.
  • Moll’s journey unfolds with poignant realism, from an innocent country girl arriving in London to a destitute harlot. Each plate exposes her struggles in the city’s dark alleys – poverty, exploitation, and emotional turmoil.
  • Hogarth’s masterpiece reflects the harsh realities faced by women in 18th-century London. Moll’s tragic fate mirrored countless others ensnared in poverty and desperation.
  • Yet, despite the powerful message, “The Harlot’s Progress” couldn’t change the prevailing conditions. Prostitution persisted in Georgian London, trapping many young girls and women in its grip.

Women, Sex, Charlotte Hayes and Her “Nuns”

French Revolution Hygiene: Just How Poor Was It?

  • Charlotte Hayes, an exceptional woman within the sex trade, ran a thriving brothel, dubbed a “nunnery.” She amassed wealth and trained her girls in etiquette to attract elite clients.
  • Sadly, many girls like Emily Warren, muse to Sir Joshua Reynolds, entered prostitution at tragically young ages. Emily, an “exquisite beauty,” began at 12, reflecting countless others forced into this life for survival.
  • “The Harlot’s Progress” and Charlotte Hayes’ story reveal women navigating an exploitative system. Despite their resilience, they faced a dangerous reality.
  • The Georgian sex trade’s legacy and stories like Moll Hackabout and Emily Warren’s are stark reminders of women’s hardships in the 18th century.

 

The Harris List of Covent Garden Ladies

  • During the 18th century, the infamous Harris’s List of Covent Garden Ladies circulated, detailing London prostitutes’ charms and services. Although meant to titillate readers, it revealed the harsh realities faced by these women.
  • Being listed in Harris’s List was a double-edged sword. It increased visibility and potential income but also exposed women to danger and exploitation.
  • The publication’s popularity mirrored the booming demand for sexual services in London. Lavishly adorned women roamed Covent Garden, attracting clients from locals to travellers.
  • The List showcased the diverse backgrounds of women in prostitution, some forced into it by desperation, others hoping to escape poverty.
  • A German visitor expressed dismay at the prevalence of very young girls in the trade. It highlighted the tragic fate of those trapped at such tender ages.
  • The Victorian era brought changes in societal attitudes, and prostitution became less visible. The Harris’s List eventually stopped publication, but the underground sex trade persisted.

The legacy of Harris’s List is a reminder of the economic hardships faced by women in 18th-century London and the exploitation they endured in the sex trade for survival.

Sources:

 

Bonnie Prince Charlie and Toad Escape Dressed as Women

Bonnie Prince Charlie and Toad Escape Dressed as Women

Bonnie Prince Charlie and Toad – What do they have in common?

It is a surprising thing to say but Bonnie Prince Charlie and Kenneth Graham’s character Toad, (Wind in the Willows, 1908) have much in common. Both were good-natured, kind-hearted and not without intelligence but they were also spoiled, reckless and obsessive. Although one is a character of fiction and the other of history and legend they both escaped the forces of law enforcement dressed as a woman –  a washerwoman in Toad’s case, and the Bonnie Prince as an Irish seamstress, Betty Burke. Both left a trail of destruction behind them but of course the Bonnie Prince’s was real.

Copy of the Declaration of Miss MacDonald, Apple Cross Bay, July 12th 1746

Miss Mc. Donald, Daughter in Law of Mc. Donald of Milton in Sky, [Skye] being, by General Campbell’s order, made Prisoner for assisting the eldest son [Bonnie Prince Charlie] of the Pretender in his escape from South Uist, & asked to declare the Circumstances thereof, says, That about six weeks ago, she left her Father in Law’s house at Armadach [Armadale] in Sky, & went South to see some friends.

Being asked, if she had any Invitation from those who persuaded her to do what she afterwards ingaged [engaged] in for the young Pretender or any Body else, before she left Sky; answered in the Negative, and says that at the time of her leaving Sky, she did know where the young Pretender was, but only heard He was Some where on the long Island: that she stay’d at (what they call) a Sheilling [small hut or cottage] of her brother’s, on the hills, near Ormaclait [Ormacleit] the house of Clan Ronald; and that, about the 21of June, O Neil, or as they call him Nelson, came to where she stay’d, & proposed to her, that as he heard she was going to Sky, that the young Pretender should go with her.

With her in Woman’s cloathes [clothes], as her servant which she agreed to. O Neil then went and fetched the young Pretender who was on the Hills not far off, when they settled the manner of their going.
Miss MacDonald says, that after this she went & stay’d with Lady Clan Ranold [Ronald], at her House, three days, communicated the scheme to her, & desired that she would furnish cloathes for the young Pretender, as her own would be too little. During Miss MacDonald’s stay at Ormaclait, O Neil came frequently from the young Pretender to Clan Ronald’s House to inform her where he was, what stepps had been taken for their voiage [voyage], and at the same time to hasten her to get her affairs in Readiness for going off.

Miss Mac Donald says, that the 27th past, she, Lady Clan Ronald, her eldest Daughter, & one John MacLean, who had by Lady Clan Ronald’s order, acted as Cook to the Pretender, during his stay on the Hills, went to a place called Whea where they expected to meet the young Pretender; but not finding him there, they went on to a Placed called Roychenish, where they found him, taking with them the women’s Apparel furnished by Lady Clan Ronald, he was dressed in. Here they heard of General Campbell’s being come to South Uist, & that Captain Fergussone was within a mile of them. When they got this Information, they were just going to Supper. But then went of very precipitately, & sat up all night at a Sheilling call’d Closchinisch.

Saturday, June 25th: the Cutter and Wherrier, which attended General Campbell having got from Bernera [Berneray], near the Harris, through the last side of the long island, & passing not far from them, put them again into great Fears, least anybody should land there. However, they continued there ’till about 9 at Night, when the Young Pretender, Miss Mac Donald, one MacAchran, with five men for the Boat’s crew, imbarked [embarked] & put to sea, Lady Clan Ronald having provided Provisions for the voyage.

The 29 about 11 in the Morning they got to Sky near Sir Alexander MacDonald’s House. Here Miss Mac Donald and Mac Achran landed, leaving the young Pretender in the Boat, they went to Sir Alexander Mac Donald’s House; and from thence Miss MacDonald sent for one Donald Mac Donald, who had been in the Rebellion, but had delivered up his arms some time ago. She imployed this Person to procure [get] a Boat to carry the young Pretender to Rasay, after acquainting him with their late voyage & where she had left the young Pretender . Miss Mac Donald stay’d & dined with Lady Margaret Mac Donald, but Mac Donald & Mac Achran returned to the Boat, to inform what was done.

Miss Mac Donald being asked why Rasay was pitched upon for the young Pretender to retreat to, she answered that it was in hopes of meeting Rasay himself, with whom he was to consult for his future security.

After dinner, Miss Mac Donald set out for Portree it being resolved that they should lodge there that Night; but on the Road overtook the young Pretender & Mac Anchran of Kingsbury. She told them she must call at Kingsbury’s House, & desired they would go there also. Here, Miss Mac Donald was taken sick, & therefore with the other two, was desired to stay all night, which they agreed to. She had a Room to herself; But the young Pretender & Mac Achran lay in the same Room. At this time he appeared in women’s Cloathes, his Face being partly concealed by a Hood or Cloak.

Being asked, if while they were at Kingsbury’s House, any of the Family inquired who the disguised Person was; answers, that they did not ask; but that she observed the People of the Family whispering as if they suspected him to be some Person that desired not to be known and from the Servants she found they suspected him to be Mac Leod of Bernera, who had been in Rebellion. But, being pressed to declare what she knew or believed of Kingsbury’s knowledge of his Guest, owns, that she believes, he must suspect it was the young Pretender.

The 30th of June, Miss Mac Donald set out on Horseback from Kingsbury’s House for Portree, having first desired the young Pretender might put on his own cloathes somewhere on the Road to Portree, as she had observed that the other dress rather made him more suspected. Miss got to Portree about 12: at night, where she found Donald Mac Donald, who had been sent before to procure a Boat then The young Pretender & Mac Ancran arrived about an Hour after. Here he took some Refreshment, changed a Guinea [twenty-one shillings], paid the Reckoning [bill], took his Leave of Miss Mac Donald & went out with Donald Mac Donald, but who, after seeing him to the Boat returned. She believes he went to Rasay [Raasay, an island between the Isle of Skye and the mainland of Scotland], but cannot tell what is become of him since.

Source: The National Archives

 

Flowers, Theatre and Fashion – Fanny Abington

Flowers, Theatre and Fashion – Fanny Abington

The actress Frances Barton or Frances “Fanny” Barton was the daughter of a private soldier who started her working life as a flower girl and a street singer. As an actress, she performed in taverns and resorted to selling herself as many hard-up women did in those days before she made it onto the stage.

Her first step to success came when she got a job as a servant to a French milliner. Fanny learned about costume and acquired some French which afterward stood her in good stead as she mingled in London’s high society as a famous actress.

Actress Fanny first appeared on the stage was at Haymarket in 1755 as Miranda in Mrs. Centlivre’s play, Busybody. Following that she became a member of the Drury Lane Company, where she was overshadowed by its more established actresses Hannah Pritchard and Kitty Clive. However, Fanny was an she was an ambitious actress and travelled to Ireland where she had her first major success Lady Townley in The Provok’d Husband by Vanbrugh and Cibber. Fanny worked at her trade, she became a consumate actress and five years after she began her career she received an invitation from David Garrick to return to Drury Lane.

Fanny married her music teacher, James Abington, a royal trumpeter, in 1759. It was not happy and the pair separated but she retained his name calling herself Mrs. Abington. She remained at Drury Lane for eighteen yearsFanny played Mrs. Teasel in Sheridan’s School for Scandal making the role her own. She also played Shakespearean heroines – Beatrice, Portia, Desdemona and Ophelia and the comic characters  Miss Hoyden, Biddy Tipkin, Lucy Lockit, and Miss Prue. Mrs. Abington’s Kitty in “High Life Below Stairs” put her in the foremost rank of comic actresses, making the mop cap she wore in the role the reigning fashion“.

This cap was soon referred to as the “Abington Cap” and frequently seen on stage as well as in hat shops across Ireland and England. Adoring fans donned copies of this cap and it became an essential part of the well-appointed woman’s wardrobe. The actress soon became known for her avant-garde fashion and she even came up with a way of making the female figure appear taller. She began to wear a tall-hat called a ziggurat adorned with long flowing feathers and began to follow the French custom of putting red powder on her hair.

An example of Fanny’s influence on fashion – the high ziggurat style hat.

Sir Joshua Reynolds painted her as Miss Prue a character from Congreve’s Love for Love. The portrait is the best-known of his half-dozen or more portraits of her. In 1782 she left Drury Lane for Covent Garden. After an absence from the stage from 1790 until 1797, she reappeared, quitting it finally in 1799. Her ambition, personal wit, and cleverness won her a distinguished position in society, in spite of her humble origin.

Source; Wikipedia

Illustrations: Fanny Abington, Joshua Reynolds, Portrait of Marie-Dauncey,1789, James-Northcote, Fanny as Miss Prue, Joshua Reynolds.

Julia Herdman writes historical fiction that puts women to the fore. Her latest book Sinclair, Tales of Tooley Street Vol. 1. is  Available on Amazon 

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