Must Love Cows

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…

If their server goes down, if you hit a wrong button and refresh the page or go back to the previous page, if you accidentally close the browser, if your browser or device crashes, etc etc etc you are shit out of luck. Your work is gone forever, it didn't backup to anywhere and there is NO recovery option. Even TUMBLR's drafting ability is supposed to autosave and often does.

LibreOfficr is also a great alternative as mentioned above. I have it, too, just in case.

Definitely don't use AO3 for a writing program. Also, save your work in multiple places. I have my works on my D: drive with a copy on my C: drive and ANOTHER copy on an external drive and I have emailed them to myself so they are on a couple of clouds. My most prized short story is also printed.

In addition to writing, you can also add your own languages, maps, magic/legendary items, wiki articles, character sheets, and so much more. They're all integrated really well and it's a great way to keep track of all the shit you come up with.

The app is free for limited use (you can write up to 25k words in manuscript, have a set number of timeline events and character sheets, etc). Unlike some apps, you can do everything for free, including customize the appearance and theme.

Upgrading is done per feature, so you only pay for what you actually need. For example, it costs $1.50/month for unlimited writing. That's nothing. You can also pay for annual or lifetime upgrades, for folks who prefer not to have monthly subscriptions.

I also forgot to mention Write or Die and Written? Kitten! The latter is mostly as bad as AO3 in terms of autosave (it will keep your text if you refresh but not if you navigate away or crash), but you at least get a visual reminder every 100 words if you want to move your writing off the site so you can write in a simple box and save elsewhere. The former is a less a program and more a threat, but in the writing stage it's just a text box with a timer and a word counter, so I use it sometimes when even LibreOffice's simple toolbars are a distraction, or if I need a focused time period to write in. If you have the WOD program on desktop at least, it will also create a backup text file as you write, to whatever folder you want, in case of crashes.

If you're just looking for a writing program that isn't Word or Google Docs, any of the options listed above are great – I myself use LibreOffice, and it's what I usually recommend to people. If, on the other hand, you're writing in the AO3 drafts because you're having trouble transferring the formatting of your drafts over from Word or Google Docs and don't really know html, here is a great guides to help make the process easy:

Here's an additional thing that you can set up on Google Docs specifically that basically allows you to toggle between rich text and html, just like in the AO3 drafts, so that if you want to do funky things with formatting you can still just copy/paste:

Also, if all else fails, here's a guide for fixing your formatting in Word if it's gotten screwed up and AO3 isn't recognizing where the paragraph breaks should be and stuff:

all these trains (and there’s like 20 counting locomotives alone, don’t even get me started on the anthropomorphic train cabins) are MAD competitive the whole time and will constantly fuck up their own whole day by tring to prove they’re the biggest baddest train. and like, i understand that you gotta get you plot from somewhere and i imagine plotlines like this happen in cars etc. as well, but the other day i was watching and i noticed that all these goddamn locomotives have DRIVERS in them. that apparently have no control over their train’s actions at all whatsoever. so these trains wake up, pick up their drivers, go to work, get taunted by another train who’s like “ha ha i see u there with your 4 cabins but did you know i can pull SIX cabins and still fucking book it at 80mph” and the 4 cabin train will be like “fuck it i gotta prove myself now, hook me up with 4 more cabins” and will inevitably derail themselves or some shit while the engine driver just shuts up and kicks back the whole time

I worked on that show. For three hideous months of my life, I did this.

And there was this whole unwritten rule structure about the drivers and what they did and when they did it and how/when they needed to act

And there was this weird fucking balance between what the trains did and what the humans did - the drivers would only act when the train can’t do a thing by itself. Hooking up to another car? Driver does it. Need to shift from one track to another? Driver gets out and does it. Loading up one of the cars? Drivers.

See something funny here? BECAUSE I DID. What driver would hear their sentient train say “fuck it i gotta prove myself now, hook me up with 4 more cabins” and NOT respond with “Percy just shut up and drive we have people to transport or the Health and Safety committee is going to breathe fire up both our asses”??? 

Naw, they hear their giant fucking trains with giant fucking faces whining about how they are getting old and outdated and how they need to prove themselves by doubling their reasonable capacity and they go “welp, okay” and they get out and they hook up those cabins.

Otherwise, the trains had total autonomy to do whatever petty competitive shit the plot of the day demanded that they do. Go way too fast and end up breaking because they wanted to race a new and not outdated engine that’s actually built for speed? They do that. Go 100% the wrong direction because they wanted to show their friends a thing they got loaded up with and end up ruining it? No probbo, Bobbo. Disobey directions given by Sir Topham Hatt HIMSELF because they’re too proud? You do the thing buddy. Strain way too fucking hard to carry 8 fucking cabins when they were only built for 4? YOU GO FOR IT YOU MORON TRAIN. 

SO WITH ALL THAT HERE’S MY THEORY that I had to develop because it was either that or never stop drinking ever again

Those drivers? They never speak to each other, never acknowledge the existence of any humans. They get in the train, go with the train, fix the train, load or unload the train. That is all they do. 

They’re not human. 

They are symbiotic extensions of the trains. They are a combination of the birds that eat parasites off hippos and fucking Boston Dynamics style robots where literally all they do is whatever shit their designated Train Of The Day deems worthy of their time. 

With no task to fulfil, they are thoughtless beings. WATCH THEM. They look around at nothing. They blink. Sometimes they lean on the edge of the window. 99.5% of the time, they do nothing, they see nothing, they interact with nothing. They are shaped in such a way as to avoid unsettling the real humans of the world, but are below humans in almost every way - Sir Topham Hatt never speaks to them directly in the way he speaks to the engines. 

If the train derails and it’s possible that a human driver would be severely injured? It’s fine, because they’re not actually human. They crumple into a heap of non-euclidian geometry and then rebuild themselves like an inflatable snowman. Their recovery is fuelled by the years of poor decisions they’ve helped enable - all this time they’ve been feeding off the intellect of these trains. 

Why do the trains never learn from their mistakes? Why, after more than 30 years, are they still getting stuck, taking on more weight than they should know they can handle, still derailing themselves? 

Because these symbiotic train extensions need their slice of the pie. They must feed. And what’s more cost effective than sandwiches? Thought. 30 years of quiet leeching, giving the trains enough processing power to do their jobs, but not so much that the trains don’t need them anymore. 

The trains are in a constant state of developmental hiatus because of the drivers themselves. 

NOW YOU MAY BE THINKING, this seems weird and unusual. Why would Sir Topham Hatt allow for this? Wouldn’t it be more cost effective for the trains to be able to learn from their mistakes and become better workers? 

And to that I ask you… from this entire operation, hauling coal, hauling people, hauling animals, being  “really useful”… what do the trains get out of this? They are kept alive and maintained, but neither are they allowed their own independent thought, or their own free time or interests. Everything they do is done under orders of Sir Topham Hatt.

And without the brainpower to devote to critical thought, they are unable to see how their petty struggles to be better than each other only reinforces the system where they are coerced into being “really useful”, above all else. 

♫ we’ve come a long, long way together through the hard times, and the good ♫

"Standing in Marble"

"Luxurious"

"Lush"

"Prosperity"

See more here: (https://www.saatchiart.com/v.korchevoy)

Also check out artist Adam Shultz...

"Untamed"

"Sisters"

"Aphrodite"

Wrong. Okay, picture this–

So there’s the prince, okay? He’s like, smack dab in the center of the ballroom, and he is like, horrifically aware that this whole ball thing is a result of his dad falling into a panic about the royal lineage or whatever and he’s stuck listening to highborn girl after highborn girl, all lined up, introducing themselves like, “Oh yeah my family’s been a longtime supporter of the crown, and I think you’re cute, *cough* I’ve been told I have child-bearing hips *cough* Who said that? Anyway–” and Princey boy is just smiling through it, he has been the center of attention for entirely too long, he misses his emotional support horse, and is just internally like “Someone please kill me now.” And then… he sees her–This isn’t a love at first sight thing, this is a ‘what the hell is going on over there’ thing, because this girl has not gotten into the Debutante line for a solid 45 minutes. 

She’s just at the hors d’oeuvres table going HAM on the prosciutto-wrapped asparagus, and like, she’s polite about it, she’s happy to move aside for other people grabbing punch and canapes (and she’s really so sweet with the wait staff, it’s kind of cute because they’re like… definitely not used to being acknowledged) but it’s like, “Damn girl, did you not eat today?” and then the prince is kind of stuck with the uncomfortable thought of ‘how many girls starved themselves to fit into a corset for this.’ And then the Prince realizes he’s missed the past 4 Debutante introductions because he’s watching Mystery girl hork down crab rangoons. So he’s like, “Excuse me” and manages to break free from the never-ending parade of girls who will hop on his dick for status.

 And as he’s approaching Mystery Girl, it’s kind of hitting him that something’s not quite natural about her. Not fake, but not quite real. But at the same time this whole evening’s been just a whole circus of people acting fake as hell, so like, someone seeming a little off doesn’t seem bad, necessarily. And he sidles up to her like, “Hi,” and she’s like, “Oh–hey, have you tried the tapenade?” and she points to one of the plates, and at this point, he could hit her with the “You don’t know who I am, do you?” deal or the “Very funny, I see your play” deal, but at this point it occurs to him that, no, he hasn’t had anything to eat throughout this whole damn ball, partially because of being stuck in the debutante parade, partially because of nerves, and there’s something so disarming about the question that he grabs a crostini and she still seems so food-focused that it doesn’t seem possible that this is a play. So they both grab little plates and ditch the party.

She pretty much clears her plate in under two minutes and then has half of his plate, he’s cool with it, mostly he’s just absolutely fascinated listening to her.

See here’s the thing about Cinderella:

1. She doesn’t know he’s the prince. Like yeah, he’s been at the center of the room, but she’s kind of spent half the party eagerly looking around everywhere she’s allowed to go (”Have you seen rose garden? Have you seen the solarium??” further confirmation that she doesn’t know who she’s talking to) and the other half stuffing her face with food. 

2. She assumes she’s never going to see anyone here tonight again, and no one recognizes her, so she has no filter.

So she’s just talking about whatever with this guy. He seems cool. She talks about her friends, who are rats. She makes little outfits for them. Sometimes they bring her little gifts. She is already the coolest person the prince has ever met because of this. She pretty much offhandedly talks about whatever is fucked up about the kingdom that would take his advisors two hours of hemming and hawing and watering down to address. She just says it like it’s nothing, just funky little things she’s observed, and again, she’s not aware that he’s the prince, but it’s still pretty damn bold to bring up at a literal royal ball.

She… seems to have the majority of graces that lots of girls from Respectable Families™ have, but there’s something strange about it, something simultaneously broken and hardened, like the way you can see where ice has thawed and re-frozen. Also the way she talks about her family, and the way she avoids talking about her family– is raising several red flags, not in the “Oh this is another person trying to take advantage of me” sense, but in the “Oh fuck, something’s gone really wrong and you need help” sense and also lowkey a ‘damn is she even getting fed?’ sense. But he can’t say, ‘Hey, that’s not fucking normal for people to say that to you or treat you that way. We need to get you out of there,’ without sounding crazy himself, so for now, he’s just going to chill, make sure she’s comfortable, and keep enjoying the evening. She’s somehow befriended like 4 of the waitstaff so they’re willing to cover for them while they disappear for a little bit, and they get plenty of time to talk, but eventually it hits her that she hasn’t danced yet and she’s like “Come on! I bet we can make the prince jealous!” and he just bursts out laughing at that like “hell yeah, let’s make the prince jealous. He’s a real asshole.” Like clearly she’s having a good time, so who is he to make it weird? So they head back to the ballroom and they dance. And our girl, Mystery Girl, Cinderella, while they’re dancing, becomes acutely aware that everyone is staring. That doesn’t seem quite right. Like, yeah she’s hot, she knows she’s hot, but at least a good third of the party should still be focused on the prince, right? Where is that guy, anyway?

Oh.

Oh wait.

Oh shit.

And Princey Boy actually picks up on her realization and they whisper argue for like 3 minutes. “Why didn’t you tell me?! Now I feel like a goddamn idiot!” “I dunno it was nice being treated like a normal person” “Well me treating you like a normal person makes me a goddamn felon or something did you consider that?!” “Hey–Hey–it’s cool–you’re cool–I think you’re amazing, and if anyone says shit about you, I can shut it down.” “Well I don’t like that! That’s fucked up!” “I agree. It is fucked up, but I believe in you, and I think you should have a chance, and I’m here to back you up. I know power is fucked up right now. I know. But are you cool with working with me to change that?” And our girl Cindy pauses on that for a couple seconds, because.. she’s just spent hours with this guy and like.. she knows he’s a good guy, she knows he means well, so she’s like, “I don’t know how long I can actually work with you.” and the prince is like “Look, I know your home situation is complicated right now, but I really think we can–”

And then the bell starts ringing.

It’s midnight.