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everybody’s always on writing prompts like “what if there was a world where everyone had a timer ticking down to their death… but you met someone whose timer said infinity!” or “what if everyone had their cause of death tattooed across their forehead… but you met someone whose forehead said THE CREATURE!” Enough -
enough. stop with the shock value. there is no need to insert THE CREATURE; the benign concept of such a world is horrifying enough. not even in urgency, but just in banal, everyday interaction. imagine you meet someone and their timer says two years. not tomorrow, not urgently soon, but two years. enough to do quite a lot. they could fall in love in that time - could they get engaged? have a baby? you might otherwise get to know them, befriend them, but perhaps you opt not to, make a conscious choice not to invest in your own grief. what balancing act would every individual person have to participate in - I have ten years, is that long enough to be a good mother to children? is that long enough to secure a caretaker for my own mother? my wife will die a few months before me. my newborn’s timer reads nineteen years.
and cause of death. you interview for a job and emblazoned across the healthy, smiling face of the HR lady is MALNUTRITION. your country is prospering, safe, but every person you meet on the street from the babies to the old women read BOMB. BOMB. what kind of havoc would fate wreak on the world? what about the loss of privacy? how would that shape our notions of hope? idk man I think a lot of those ancient poems were right, and the fates are monsters. I’m interested by the framing of these ideas as trite horror tales when the premises themselves are so much more disturbing if simply taken to their logical ends
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Right, I wasn't going to write more on this, but every time I block an obvious AI-driven blog, five more clutter up the tags. So this is my current (April 2024) advice on how to spot AI posts passing themselves off as useful writing advice.
No Personality - Look up a long-running writing blog, you'll notice most people try to make their posts engaging and coming from a personal perspective. We do this because we're writers and, well, we want to convey a sense of ourselves to our readers. A lot of AI posts are straight-forward - no sense of an actual person writing them, no variation in tone or text.
No Examples - No attempts to show how pieces of advice would work in a story, or cite a work where you could see it in action. An AI post might tell you to describe a person by highlighting two or three features, and that's great, but it's hard to figure out how that works without an example.
Short, Unhelpful Definitions - A lot of what I've seen amount to two or three-sentence listicles. 'When you want to write foreshadowing, include a hint of what you want foreshadowed in an earlier chapter.' Cool beans, could've figured that out myself.
SEO/AI Prompt Language Included - I've seen way too many posts start with "this post is about..." or "now we will discuss..." or "in this post we will..." in every single blog. This language is meant to catch a search engine or is ChatGPT reframing the prompt question. It's not a natural way of writing a post for the average tumblr user.
Oddly Clinical Language - Right, I'm calling out that post that tried to give advice on writing gay characters that called us "homosexuals" the entire time. That's a generative machine trying to stay within certain parameters, not an actual person who knows that's not a word you'd use unless you were trying to be insulting or dunking on your own gay ass in the funniest way possible.
Too Perfect - Most generative AI does not make mistakes (this is how many a student gets caught trying to use it to cheat). You can find ways to make it sound more natural and have it make mistakes, but that takes time and effort, and neither of those are really a factor in these posts. They also tend to have really polished graphics and use the same format every time.
Maximized Tags (That Are Pointless) - Anyone who uses more than 10 one-word tags is a cop. Okay, fine, I'm joking, but there's a minimal amount of tags that are actually useful when promoting a post. More tags are not going to get a post noticed by the algorithm, there is no algorithm. Not everyone has to use their tags to make snarky comments, but if your tags look like a spambot, I'm gonna assume you're a spambot.
No Reblogs From The Rest of Writblr - I'm always finding new Writblr folks who have been around for awhile, but every real person I've seen reblogs posts from other people. We've all got other stuff to do, I'm writing this blog to help others and so are they, the whole point of tumblr is to pass along something you think is great.
While you'll probably see some variation in the future - as people get wise to obviously generated text, they'll try to make it look less generated - but overall, there's still going to be tells to when something is fake.
I don't have any real advice for what to do about this (other than block those blogs, which is what I do). Like most AI bullshit, I suspect most of these blogs are just another grift, attempting to build large follower counts to leverage or sell something to in the future. They may progress past these tattletale features, but I'm still going to block them when I see them. I don't see any value in writing advice compiled from the work of better writers who put the effort in when I can just go find those writers myself.
FYI, Writing Questions Answered has been an ask-centered blog since its inception, so I don't often reblog others' posts, and that's because if I'm spending time here, I'm answering questions and not scrolling through my dash. When I do reblog things, it's because they're at the top of my feed when I log in, and I think they'll benefit the WQA community... like this post! :)
I love me a pseudo-historical arranged marriage au but it always nudges my suspension of disbelief when the author has to dance around the implicit expectation that an arranged marriage should lead to children, which a cis gay couple can't provide.
I know for a lot of people that's irrelevant to what they want from an Arranged Marriage plot, but personally I like playing in the weird and uncomfortable implications.
So, I've been thinking about how you would justify an obviously barren marriage in That Kind of fantasy world, and I thought it'd be interesting if gay marriage in Ye Old Fantasy Land was a form of soft disinheritance/abdication.
Like, "Oh, God, I don't want to be in this position of power please just find me a boy to marry", or, "I know you should inherit after you father passes but as your stepmother/legal guardian I think it'd make more sense if my kids got everything, so maybe consider lesbianism?", or "Look, we both know neither of our families has enough money to support that many grandkids, so let's just pair some spares and save both our treasuries the trouble".
Obviously this brings in some very different dynamics that I know not everyone would be pinged by, but I just think it'd be neat.
This is actually a really cool variant solution to a real historical problem, wherein either primogeniture or other profoundly shitty customs led to wealthy parents having insufficient resources to provide for all of their children in a manner consistent with their station.
Historically, the Church and its widespread monastic structure functioned as a dumping ground for second/third/etc sons and all the daughters one can't afford to marry off adequately, with the military eventually picking up the slack for the former post-Reformation to the point where it's been argued that the need for something to occupy these dispossessed sons played a role in Europe's ongoing conflicts between its nations and the eventual push of imperialism and colonization over the rest of the world.
In a world where homosexuality were more accepted, it would offer a new option: spare a comparatively-small outlay of resources from the main family fortune to equip a house and accoutrements, which would be reabsorbed into the family as a return inheritance in a few decades, and contract a marriage which would be deliberately unable to produce legitimate offspring.
You get the advantages of creating marital ties with another wealthy family, the people married therein have a spouse and the status achievements that go with marriage, and the risk that your child goes off and marries someone unsuitable or inconvenient is removed entirely, as is the risk that they could marry someone and have legitimate, inheritance-claiming children with them. Sure, they can have affairs and thus get children if they're married to a same-sex spouse, but those children cannot be passed off as legitimate issue of the marriage, and so they pose less of a threat to the the main body of the family's wealth.
And, thus: perfectly reasonable reason why your pseudohistorical fictional characters can find themselves in a same-sex arranged marriage!
Does your dialogue fall flat, or feel thin and strange? Does it feel like your characters are talking like robots? Do your conversations sound repetitive and monotone? We’ve all been there. It’s a very common occurrence amongst writers. Here are some of my favorite ways to avoid the monotone robot characters and add life and movement into your dialogue!
In this post, we’re going to have an example sentence that changes as I talk about different additions. Here it is in its naked, base form:
“I know it’s real I saw it,” Nico said.
Now, let’s hop into making it lively, shall we?
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1) PUNCTUATION
Commas and punctuation are your best friends! Use them. Use the crap out of them. Many people will say commas can’t go here and they can’t go there, but I say, in dialogue, it doesn’t matter. If you want your character to pause but you don’t want to use an ellipsis because it feels too long, use a comma. Put them wherever you want. Wherever your character pauses. If your character is rambling or talking really fast, take them out. It’s your dialogue. Use any and all punctuation to bedazzle up your lines. There is never too many or too little of anything if you want it that way, folks.
Keep in mind, punctuation can change the whole feeling of your sentence and the way your readers imagine your character talking. For example, your punctuation should differ between an excited and a sad line.
Here is the example sentence, punctuated in two different ways.
“I know it’s real, I saw it!” Nico said.
“I know it’s real… I saw it,” Nico said.
Can you see how just the change in punctuation changes the way you imagine him saying it? Really hone in on how your character is speaking and punctuate it to show that. (Keep in mind that this is your story and your character. You don’t have to obey punctuation rules and writing stereotypes, your story obeys you.) Put whatever punctuation you want there. Use thirty commas in your sentence. Use an ellipsis after every word. If it makes your character sound how you want them to sound, go for it, friends!
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2) ITALICS
Some people hate reading over-italicized works, but that’s their own preference. Italics is a great way to add interest, movement, and a characters natural inflection into your dialogue. (I freaking love italics.) Italics helps readers understand what the character is focused on, and how they’re speaking. Again, people will say not to use it too much or only to use it so many times in a paragraph… but the key here is still to write it how you like it. Italics can make your sentences sound more human and more authentic.
Here is our pair of examples, now with punctuation and italics.
“I know it’s real, I saw it!” Nico said.
“I know it’s real… I saw it,” Nico said.
Take a minute and read through the example dialogue, imagining each word italicized one by one. Pay attention to the meaning and context it gives it. (For example, if the ‘I’ at the beginning is in italics — I know it’s real — that could imply that he’s talking to someone who doesn’t know or believe whatever he’s talking about is real.)
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3) DIALOGUE TAGS
Tags. Tags, tags, tags! Tags are so important! Tags are brilliant for clarifying and identifying exactly how your character is speaking and how they intend for the statement to come across. If you ignore every other tip in this post, don’t ignore the tag! There are so many different words you could use instead of said that give life and context to your lines. Muttered, mumbled, yelled, shouted, exclaimed, whined, groaned, whispered, and a ton ton ton more. Use these to your advantage, like an outline for your dialogue. The tag is undoubtedly the easiest way to make your lines come across the way you want them to.
Here’s the examples with different tags!
“I know it’s real, I saw it!” Nico defended.
“I know it’s real… I saw it,” Nico mumbled.
Don’t be afraid to move your tag around, either! Sometimes, in order to make your conversations less repetitive, moving your tags are nice. You can put them at the beginning, middle, or end! (Middle tags are my favorite, I use them a whole, whole lot…)
Here’s the example sentence with a tag at the beginning and middle.
Nico growled: “I know it’s real, I saw it!”
“I know it’s real…” Nico muttered. “I saw it.”
Don’t forget, tags don’t always have to be how they’re speaking. It can also be what they’re doing or how they’re acting, which can be just as telling as other tags. (I use action tags sooooooo much. Action tags in the middle of dialogue is my jam.)
The example sentences with action tags:
Nico crossed his arms, huffing deeply. “I know it’s real, I saw it!”
“I know it’s real…” Nico averted his gaze, staring down at his shoes instead. “I saw it.”
Or, you can mix them both! An action tag plus how they’re speaking for maximum impact and description.
Here’s the example sentence with both!
Nico rolled his eyes, hissing: “I know it’s real, I saw it!”
“I know it’s real…” Nico uttered, poorly stifling a shudder. “I saw it.”
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4) DESCRIPTION
Describing the way your character looks, moves, speaks, etc etc before and after the line can further help your readers know how they feel about what they’re saying. This is especially important if the character is not the main character and doesn’t have internal dialogue. Body language can explain things voices can’t or won’t. You can explore putting these descriptions before the line, after the line, in the tag, or after the tag. Whatever you prefer!
Here’s the sentence with descriptive sentences with it. I did one before the line & tag and one in the middle!
He was practically fuming, his eyebrows knitted so closely together they looked like a single strip of hair. His eyes were flicking between his friends like he was trying to determine if they were joking, blue irises blurred with a rage-fueled haze. Nico finally rolled his eyes, hissing: “I know it’s real, I saw it!”
“I know it’s real…” Nico uttered, poorly stifling a shudder. His eyes never left the floor, and he looked smaller, younger as he spoke. His breaths weren’t exactly even, but they weren’t too quick, either. “I saw it.”
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Look at those two very different scenarios we got out of the same base line! This is the power you hold, folks, the power to un-bland your dialogue and make it into something intense and memorable for your readers! The power to make it portray exactly what you want it to portray! No more worrying how your readers took that line, because you set in stone how it was presented.
Remember, making a paragraph like that for every line might get tiring or repetitive to read. Sometimes tags alone are good enough in fast-paced or long conversations, and sometimes, if the dialogue makes it clear who is speaking, the line can suffice by itself!
If you have any writing tip requests, drop them in my inbox!
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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.
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@eldriwolf sent me this, and I immediately thought of the Indian bagh nakh “tiger-claw” weapon, which isn’t usually articulated or as realistic - for a given value of realism - but was a very nasty piece of kit.
The basic version was a steel bar with two rings for index and pinkie fingers, and four steel claws for ripping into an enemy’s soft parts - probably neck and stomach, where there were no awkward bones and the result would be more effective.
These simple versions had an extra advantage of being easy to conceal…
…and sometimes the finger-rings would be gilded and decorated with gems as if they were just jewellery.
Okay, maybe quite a lot of jewellery.
I bet that if timing and location were organised properly, political assassination could be passed off - in honest belief or for convenience - as the victim having encountered a real tiger.
“But where are the marks of the tiger’s teeth?” That too could be arranged:
These double daggers have proper flattened-diamond blade profiles, and their points are too close for a full-grown tiger or leopard - but (fiction-writer imagination at work) there’s no reason why a special-purpose one couldn’t have been made with realistic separation and correct tooth-spike shape.
The modern era has seen plenty of convenient “accidents” and “suicides”(what writer Len Deighton calls XPD or Expedient Demise) so how good was Mughal-era CSI?
Or more correctly, when required by Certain Circumstances, how bad did it need to be?
If an Important Person announced: “Clearly a tiger did it. How sad. Too bad. Long live the new maharajah, my Dear Little Nephew”, the best way for doubters to maintain good health would be agreement…
*****
There was another version which - if the “attacked by a wild beast” excuse was still used - came with a suggestion that tigers in that particular region were getting disturbingly smart. (Though pointing this out may not have been wise, see above…) :->
These are bichuwa bagh nakh, “scorpion-sting tiger claws”, the dagger name deriving from its recurved blade shape resembling the business end of a scorpion’s tail.
They were sometimes carried in combat, bichuwa bagh nakh in the left hand and a talwar (curved) or khanda (straight) sword in the right.
During close-quarter grappling the claws could rake and the dagger stab, while the finger-rings meant less risk of dropping it.
In the same way that many Indian weapons had “tacticool” add-ons - miniature pistols, axe-gun combinations, concealed daggers and so on - there were bagh nakh with more than just one extra blade…
…bagh nakh with extra folding blades and a knuckle-guard…
…and this articulated contraption which (IMO anyway) was for defence as well as attack.
*****
It was, like the much simpler two-ring-no-blades version, a lot less obvious than the first photo suggests…
…and since many Indian helmets were open-faced while others had face-protection only of mail…
…a surprise slap across the face might spoil any warrior’s day.
The reason I think it also had a defensive purpose is the fairly thick metal palm and that little spur low down on it, almost certainly meant to stop a palm-blocked blade from sliding any further.
I’m not sure there’s enough articulation for such a blade to be actually gripped tightly, but once trapped between spur and claws it could be twisted aside for long enough that a weapon in the other hand could attend to its wielder.
*****
Yet again: when creating a fantasy weapon for writing or RPG, do a search for whatever you have in mind, because it may well have been made for real a couple of centuries ago by an Indian weaponsmith demonstrating what he could do to advertise his skill, or just making some oddity in steel to see if it was possible… :->
Something like this would be so colossally helpful. I'm sick and tired of trying to research specific clothing from any given culture and being met with either racist stereotypical costumes worn by yt people or ai generated garbage nonsense, and trying to be hyper specific with searches yields fuck all. Like I generally just cannot trust the legitimacy of most search results at this point. It's extremely frustrating. If there are good resources for this then they're buried deep under all the other bullshit, and idk where to start looking.
another addition as far as physical media goes there is the encyclopedia of national dress (that i still need to buy myself bc this kind of thing is super important to my sort of fantasy designing) but yes i do agree i wish there was EVEN MORE documentation on this
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
E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;
Hiveword - Helps to research any topic to write about (has other resources, too);
BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;
Charlotte Dillon - Research links;
Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!
Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;
Penguin Random House - Has some writing contests and great opportunities;
Crime Reads - Get inspired before writing a crime scene;
The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;
Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);
Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;
Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;
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in the spirit of xkcd's "did you know you can just buy labcoats?" , did you know you can just buy newspapers? some days it feels like any old shitposter can get a journalism job and spew high-velocity misinformation, like Aziah Siid at the Seattle Medium.
You're the ones doing the starving here, fuckwits.
Thanks to food deserts — or as some folks call it, “food apartheid”
Thanks to bad reporting - or as some folks call it, "Nazi-style propaganda"
that's halfway through the first sentence and Siid has very effectively set the tone for an article of race-baiting, blame-shifting, inflammatory, connotation-smuggling, condescendingly ignorant, hyperbolic, partisan hackery.
there are cities across the United States where Black families have to drive several miles to access fresh food at a supermarket.
link does not support claim, link is just tangentially related article using the word "food desert". link says this:
This gives me the impression that someone yelled "CITE SOURCES" at the journalist until the journalist did the malicious minimum of work to give the superficial appearance of a citation. The source "more than a quarter of a mile" does not support the article "drive several miles", and other problems.
Journalism delenda est.
That isn't even the topic yet, just a shitty lead-in. The topic:
But the lack of resources that disproportionately impacts Black communities isn’t limited to food or health care. Access to literature is also often limited in Black neighborhoods.
Interest in literature is also often limited in black neighborhoods. They have less desire for and less interest in books relative to whites.
Nearly half of American children live in a book desert — places that American Federation of Teachers President Randi Weingarten defines as “neighborhoods that lack public libraries and stores that sell books, or in homes where books are an unaffordable or unfamiliar luxury.”
The linked article is by Randi Weingarten, but does not define "book desert" that way, as it does not use the word "desert" anywhere at all. Superficial appearance of citation again, journalism delenda est.
I'd call for Aziah Siid to be "fired" but there is nothing to fire her from. You can just buy newspapers. You can just write shitposts and have them published with fancy headings.
So I'm left reiterating: journalists lie, journalists spread disinformation, newspapers are full of shit, the profession attracts liars and incentivizes lying partly because it's loudly claimed to be fact-checkers, journalists can get away with contradicting someone and calling it a "fact check". It happens up and down the scale across the industry, from relative rando Aziah Siid, to upscale Keith Olbermann who has multiple awards for excellent journalism and he won't stop lying after repeated corrections.
If students don’t have books at home or in their neighborhood, they rely on what’s available in schools — in the classroom and campus library.
But good luck finding banned and challenged books like “The Gift of Ramadan” by Rabiah York Lumbard and Laura K. Horton and “Sulwe” by Lupita Nyong’o and Vashti Harrison if students live in a place impacted by censorship.
"impacted" is such a wonderful weasel word that encourages the reader to imagine something maximally inflammatory with minimal commitment on the part of the journalist. There is no rebuttal that can be made here without Siid dodging that that's not what she meant by "impacted" - so I retort instead that it's content-free incitement and demagoguery. Journalism delenda est.
Similarly with "banned and challenged", where all the weighty connotation is being carried by the "banned" part, but all the truth of the sentence resides in the "challenged" part. I tried to find the specifics of the matter and as best I can tell, in one of the three thousand counties in the United States, The Gift of Ramadan was challenged for school review by partisan hacks and then got stuck in bureaucratic limbo in a poorly designed review process to determine whether it should be in schools in that county. Somewhere has to be the most fuckup county of 3000, and Duval County was it that year.
From the viewpoint of people who thought their book should be read by every student as a default, this cherry-picked one-county school-holdup felt like a "ban" despite the fact that the book remained available in bookstores.
What extraordinary entitlement.
The epicenter of these efforts? Florida and the attempts led by Republican Gov. Ron DeSantis to eliminate the teaching of accurate U.S. history and kill off access to diverse books.
Stripped of the bombast: Florida rejected one specific Advanced Placement course on African American Studies. DeSantis claimed this was because the course was a bunch of thrown-together left-wing talking points including queer theory and climate action along with the black blackety blackness.
The College Board released an edited version of the course, and claimed this was nothing to do with Florida because they get feedback from lots of people.
That’s why as part of a larger effort to make books more accessible, and directly combat these anti-history book bans, the national nonprofit Little Free Library and creative marketing agency Venables Bell + Partners have teamed up on the Unbanned Book Club.
Again with the use of "ban" for not using government resources to promote. Journalism delenda est, wordcels delenda est. The books are not banned, as shown by the fact that this project is legal. The vast majority of books in the world are not in any school, let alone every school; curricula change regularly; to call it "banned" that a book was removed from a school is a sort of linguistic robbery that steals the substance of word and leaves us with a confusion of tongues as of Babel.
Why You're Writing Medieval (and Medieval-Coded) Women Wrong: A RANT
(Or, For the Love of God, People, Stop Pretending Victorian Style Gender Roles Applied to All of History)
This is a problem I see alllll over the place - I'll be reading a medieval-coded book and the women will be told they aren't allowed to fight or learn or work, that they are only supposed to get married, keep house and have babies, &c &c.
If I point this out ppl will be like "yes but there was misogyny back then! women were treated terribly!" and OK. Stop right there.
By & large, what we as a culture think of as misogyny & patriarchy is the expression prevalent in Victorian times - not medieval. (And NO, this is not me blaming Victorians for their theme park version of "medieval history". This is me blaming 21st century people for being ignorant & refusing to do their homework).
Yes, there was misogyny in medieval times, but 1) in many ways it was actually markedly less severe than Victorian misogyny, tyvm - and 2) it was of a quite different type. (Disclaimer: I am speaking specifically of Frankish, Western European medieval women rather than those in other parts of the world. This applies to a lesser extent in Byzantium and I am still learning about women in the medieval Islamic world.)
So, here are the 2 vital things to remember about women when writing medieval or medieval-coded societies
FIRST. Where in Victorian times the primary axes of prejudice were gender and race - so that a male labourer had more rights than a female of the higher classes, and a middle class white man would be treated with more respect than an African or Indian dignitary - In medieval times, the primary axis of prejudice was, overwhelmingly, class. Thus, Frankish crusader knights arguably felt more solidarity with their Muslim opponents of knightly status, than they did their own peasants. Faith and age were also medieval axes of prejudice - children and young people were exploited ruthlessly, sent into war or marriage at 15 (boys) or 12 (girls). Gender was less important.
What this meant was that a medieval woman could expect - indeed demand - to be treated more or less the same way the men of her class were. Where no ancient legal obstacle existed, such as Salic law, a king's daughter could and did expect to rule, even after marriage.
Women of the knightly class could & did arm & fight - something that required a MASSIVE outlay of money, which was obviously at their discretion & disposal. See: Sichelgaita, Isabel de Conches, the unnamed women fighting in armour as knights during the Third Crusade, as recorded by Muslim chroniclers.
Tolkien's Eowyn is a great example of this medieval attitude to class trumping race: complaining that she's being told not to fight, she stresses her class: "I am of the house of Eorl & not a serving woman". She claims her rights, not as a woman, but as a member of the warrior class and the ruling family. Similarly in Renaissance Venice a doge protested the practice which saw 80% of noble women locked into convents for life: if these had been men they would have been "born to command & govern the world". Their class ought to have exempted them from discrimination on the basis of sex.
So, tip #1 for writing medieval women: remember that their class always outweighed their gender. They might be subordinate to the men within their own class, but not to those below.
SECOND. Whereas Victorians saw women's highest calling as marriage & children - the "angel in the house" ennobling & improving their men on a spiritual but rarely practical level - Medievals by contrast prized virginity/celibacy above marriage, seeing it as a way for women to transcend their sex. Often as nuns, saints, mystics; sometimes as warriors, queens, & ladies; always as businesswomen & merchants, women could & did forge their own paths in life
When Elizabeth I claimed to have "the heart & stomach of a king" & adopted the persona of the virgin queen, this was the norm she appealed to. Women could do things; they just had to prove they were Not Like Other Girls. By Elizabeth's time things were already changing: it was the Reformation that switched the ideal to marriage, & the Enlightenment that divorced femininity from reason, aggression & public life.
For more on this topic, read Katherine Hager's article "Endowed With Manly Courage: Medieval Perceptions of Women in Combat" on women who transcended gender to occupy a liminal space as warrior/virgin/saint.
So, tip #2: remember that for medieval women, wife and mother wasn't the ideal, virgin saint was the ideal. By proving yourself "not like other girls" you could gain significant autonomy & freedom.
Finally a bonus tip: if writing about medieval women, be sure to read writing on women's issues from the time so as to understand the terms in which these women spoke about & defended their ambitions. Start with Christine de Pisan.
I learned all this doing the reading for WATCHERS OF OUTREMER, my series of historical fantasy novels set in the medieval crusader states, which were dominated by strong medieval women! Book 5, THE HOUSE OF MOURNING (forthcoming 2023) will focus, to a greater extent than any other novel I've ever yet read or written, on the experience of women during the crusades - as warriors, captives, and political leaders. I can't wait to share it with you all!
