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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!

Home Alone

When a plate falls with a sharp clatter

To the ground unbroken, terror claws into

you and demands you to beg to a looming

Shadow on the freezing kitchen tiles:

I’m sorry. I’m sorry. I’ll clean it up. I’m so sorry.

20 Ways to Show Anger in Your Writing

Here’s a list of 20 signs of anger that writers can use to show, rather than tell, a character’s emotions through physical, verbal, and internal reactions:

1. Facial Expressions

Clenched jaw or grinding teeth

Narrowed or glaring eyes

Lips pressed into a thin line or curled into a sneer

2. Body Language

Fists clenched tightly at their sides

Tense shoulders that rise or square up

Puffing out the chest or stepping closer to confront

3. Speech Patterns

Voice lowered to a dangerous, icy tone

Shouting or raising their voice suddenly

Speaking in short, clipped sentences

4. Breathing Changes

Heavy, rapid breathing (nostrils flaring)

Sharp inhales and audible exhales

Holding their breath as if trying to stay in control

5. Sudden Physical Movements

Slamming fists onto tables or walls

Pacing back and forth restlessly

Pointing a finger or jabbing the air during speech

6. Uncontrolled Gestures

Shoving objects off a desk or knocking over a glass

Finger tapping or knuckle cracking

Wrapping arms tightly around themselves

7. Temperature and Flushes

Red face, neck, or ears

Visible veins on the neck or forehead

Breaking into a sweat despite the situation

8. Eye Movements

Eyes darting or rolling sharply

Avoiding direct eye contact out of fury

Staring someone down with unblinking intensity

9. Words and Tone

Cursing, insults, or verbal jabs

Sarcasm sharpened to hurt others

Accusations thrown in frustration

10. Breaking Personal Space

Leaning in closer, looming over someone

Pointed steps toward another person to intimidate

Physically turning away to dismiss or avoid conflict

11. Physical Reactions

Throwing objects or breaking things in rage

Punching walls, doors, or inanimate objects

Shaking hands or trembling with pent-up anger

12. Posture Shifts

Back stiffening and chin lifting defiantly

Shoulders jerking or twitching

Rigid stance as though ready for confrontation

13. Inner Thoughts (for internal POV)

“I could feel the blood boiling in my veins.”

“The room seemed to close in on me.”

“My pulse thundered in my ears.”

14. Displacement of Anger

Kicking objects on the ground (chairs, trash bins)

Storming off abruptly or slamming doors

Snapping at someone unrelated to the cause of anger

15. Temperature Descriptions (metaphors/sensations)

Heat rushing to their face or spreading through their chest

A cold sensation washing over them, signaling restrained anger

Feeling fire “lick” at their insides or their temper “ignite”

16. Instinctive Responses

A growl or grunt escaping their lips

Baring their teeth as if instinctively defensive

Ripping or tearing something in their grip

17. Silence as a Weapon

Pausing dramatically before responding

Refusing to speak or meet someone’s eyes

The ominous quiet just before they explode

18. Physical Sensations

Muscles twitching or vibrating under the skin

Heart pounding visibly at their throat or chest

A bitter taste in their mouth or nausea from anger

19. Reactive Behaviors

Interrupting others to correct or attack

Dismissing concerns with a quick wave of the hand

Throwing out ultimatums like “Don’t push me!”

20. Lingering Aftermath

Hands trembling after the initial outburst

A headache, buzzing ears, or lingering tension

Regret or shame slowly replacing the heat of the anger

These signs can be layered together to create realistic and powerful depictions of anger, whether it’s smoldering beneath the surface or erupting violently.

hey look what i made

100+ picrews. more to come. all organized and categorized with different tags. fully intended to update with more tags and more features

click here. and hit reblog. (please)

Creative Differences

Finery drips in the gallery with walls the color of fake teeth Under glimmering lights and clacking red-sole heels I shake hands, theirs soft, smooth, unstained, mine with indentations the curve of my paintbrush.

They whisper over hors d'oeuvres and caviar about The color matching their second-floor carpet. I hope it pays my rent.

A child smaller than the canvas wanders Away to a painting, unsticks his fist from his mouth, his eyes wide enough to encompass stars. He stays longer than most until his mother drags him away, apologizing as she rejoins her group.

He understands art a lot more than money right now.

I hope every writer who sees this writes LOADS the next few months. Like freetime opens up, no writers block, the ability to focus, etc etc you're able to write loads & make lots of progress <3

Making Fight Scenes Sound Nicer

Euphonics is all about how the words "feel". By incorporating certain sounds, you can influence the mood of the passage.

Mood: Foreboding

use words with 'ow', 'oh', 'ou', 'oo' sonds. These are good for building tension before the fight.

moor, growl, slow, wound, soon, show, show, grow, tow, loom, howl, cower, mound.

Mood: Spooky

use words with 's' sounds, combined with an 'i' sound.

hiss, sizzle, crisp, sister, whisper, sinister, glisten, stick.

Mood: Acute Fear

use word with 'ee/ea' sounds, with a few 's' sounds.

squeal, scream, squeeze, creak, steal, fear, clear, sheer, stream

Mood: Fighting Action

use short words iwth 't', 'p' and 'k' sounds.

cut, block, top, shoot, tackle, trick, kick, grip, grab, grope, punch, drop, pound, poke, cop, chop.

Mood: Speed

use short words with 'r' sounds

run, race, riot, rage, red, roll, rip, hurry, thrust, scurry, ring, crack

Mood: Trouble

use words with 'tr' sounds to signal trouble

trouble, trap, trip, trough, treat, trick, treasure, atroscious, attract, petrol, trance, try, traitor

Mood: Macho Power

If you wan to emphasize the fighters' masculinity, use 'p' sounds.

pole, power, police, cop, pry, pile, post, prong, push, pass, punch, crop, crap, trap, pack, point, part

Mood: Punishment

If your fight involves an element of punishment use 'str' sounds

strict, astride, strike, stripe, stray, strident, stroke, strip, instruct, castrate strive

Mood: Defeat

use 'd' sonds

despari, depressed, dump, dig, dank, damp, darkness, drag, ditch, drop, dead, deep, dark, dull

Mood: Victory

use 'j' and 'ch' sounds

joy, cheer, jubilant, jeer, chuck, chariot, choose, chip, jest, jamboree, jig, jazz, jive, rejoice, rejoin

In print, the effectiveness of such euphonics will be very subtle, and it can only serve as an embellishment to what you already have.

Don't use or replace words for the sake of achieving euphonic effects, but this can be something to keep in mind when you are editing your draft!

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