#Writing nobles

[inky-duchess]

Fantasy Guide to Royal and Noble Marriages

Marriage is an important part of the life of both royal and nobles in any setting, either historical fiction or fantasy. Marriages are not only life long commitments but they are business and protection deals by families. These are strategies, not relationships. So how can we write them?

Why make a Marriage?

Marriage is at its heart, the seal on an agreement. Two families may come to an agreement to share resources, connections and support one another. For a noble family, it could be about elevation. For example, if the daughter of an Earl marries a Duke, her siblings can now make higher marriages and her family would be more important thanks to this link. It could even be about money. In the late Victorian - Early Edwardian period, many impoverished English peers married wealthy American women for their fortunes. In exchange, the women became titled aristocrats. Royal marriages are made for more universal perks. A royal marriage can change the political layout of the world, it could isolate a kingdom or be the starting gun or a war or end a years long conflict. For example, Kingdom A might be being threatened by Kingdom B. Kingdom C has a powerful military. Kingdom A might offer up a marriage deal to Kingdom C, with the caveat that C protect A from B. C would obligated to act if A gets attacked by B, since A is now an ally. A marriage cements the deal as it creates family ties, which is seen as a sort of permanent stamp on negotiations. After all, would you screw over family?

Marriages of Choice vs Arranged Marriages

Marriages can either be made on behalf of a royal/noble or made by themselves. An heir might be more restricted in this case whilst a younger children have a little more leeway especially if they are part of a large family.

Marriages are not always arranged. But that doesn't mean there aren't restrictions. Any royal or noble will have a list of certain attributes their spouse must have or certain attributes they cannot have. Marriages of choice have to be approved by parents (and the crown if you are a high ranking noble) and if you are royal, sometimes by the government itself.

Arranged marriages are agreements between two families. They might want each other's protection, support or they might simply want to do business together such as opening trade corridors or lifting embargoes on certain items. Arranged marriages are usually made on behalf of both spouses and they are expected to agree to the match for the sake of their family or country.

Screwing over the Deal

Making a marriage doesn't mean that the deal will last forever. Alliances change and circumstances shift. Whilst everyone may be all friendly during negotiations and for some time after, politics is the aim of the game. Treaties can be broken, war can break out and marriages can become unpopular choices. If a country has welcomed a bride/groom one day and then their country becomes the enemy, the bride/groom could become an enemy as well and face isolation and disrespect from the public - even their new family. However they are expected to be loyal to their new family and country, even over their own family and kingdom. These marriages have no promise of happiness. They are a job, a duty to ensure the family is taken care of and securing their futures.

Timeline of a Royal Marriage between Two Royal Families

Offer: The suggestion is made.

Negotiations: The discussion through ambassadors of what a marriage might entails, what each side is willing to provide or what they demand of the marriage. This can take weeks, months even years before a marriage is agreed.

Betrothal: Marriage is approved, treaty signed and the couple is engaged. Betrothals can last from anything from a few weeks to years

Wedding: If one spouse has to travel to their new home, they will travel to their new home and meet their new court, new family and their spouse. Once they arrive, the wedding will take place in a matter of days.

Married Life

These marriages are public, so it is expected for the couple to at least act civil. If they do not like one another or can't stand the sight of another or they just don't love each other, is irrelevant to society and their expectations. They are expected to attend certain events together, sire children and do their duty. There's no rules saying they must live together, so many lived separate lives. The higher ranking spouse is expected to provide their spouse with an allowance and a staff. For international marriages, spouses are not permitted to hire a large party of their own attendants even if they accompany them to their new country. They may keep one or two for company but a newly minted royal should not be waited on by foreign servants, they are a royal of their new kingdom now.

What makes a "good" marriage?

As mentioned above, marriages and relationships are expected to fall into certain perameters. Any spouse - chosen or assigned - should meet certain standards such as be of appropriate rank, follow societal norms and even sometimes be of the same religion. Marriages to anybody who falls out of these standards can be seen as a devasting move - the marriage of Edward IV is still remarked on as a contributing factor to the end of the Plantagenet dynasty. Making the wrong choice of spouse in society's eyes can lead to gossip, being shunned, being disrespected and even barred from succeeding to your birthright. Unequal marriages or morganatic marriages, can even bar children from succession, disallow the couple from attending events together and deny the spouse the style they ought to be entitled to - the marriage of Archduke Franz Ferdinand is a good example to study. A good marriage is seen as one that adheres to all the expectations of society - even if it is an unhappy one.

[elodieunderglass]

changes and trends in horror-genre films are linked to the anxieties of the culture in its time and place. Vampires are the manifestation of grappling with sexuality; aliens, of foreign influence. Horror from the Cold War is about apathy and annihilation; classic Japanese horror is characterised by “nature’s revenge”; psychological horror plays with anxieties that absorbed its audience, like pregnancy/abortion, mental illness, femininity. Some horror presses on the bruise of being trapped in a situation with upsetting tasks to complete, especially ones that compromise you as a person - reflecting the horrors and anxieties of capitalism etc etc etc. Cosmic horror is slightly out of fashion because our culture is more comfortable with, even wistful for, “the unknown.” Monster horror now has to be aware of itself, as a contingent of people now live in the freedom and comfort of saying “I would willingly, gladly, even preferentially fuck that monster.” But I don’t know much about films or genres: that ground has been covered by cleverer people.

I don’t actually like horror or movies. What interests me at the moment is how horror of the 2020s has an element of perception and paying attention.

Multiple movies in one year discussed monsters that killed you if you perceived them. There are monsters you can’t look at; monsters that kill you instantly if you get their attention. Monsters where you have to be silent, look down, hold still: pray that they pass over you. M Zombies have changed from a hand-waved virus that covers extras in splashy gore, to insidious spores. A disaster film is called Don’t Look Up, a horror film is called Nope. Even trashy nun horror sets up strange premises of keeping your eyes fixed on something as the devil GETS you.

No idea if this is anything. (I haven’t seen any of these things because, unfortunately, I hate them.) Someone who understands better than me could say something clever here, and I hope they do.

But the thing I’m thinking about is what this will look like to the future, as the Victorian sex vampires and Cold War anxieties look to us. I think they’ll have a little sympathy, but they probably won’t. You poor little prey animals, the kids will say, you were awfully afraid of facing up to things, weren’t you?

[paradox-n-bedrock]

me in big fandoms: oh cool, it's so active and there's so many people to vibe with, this is amaz-

*finds my niche angle that appeals to approximately six people*

me: okay, folks, it's you and me now

[nat-20s]

Biggest hindrance of Doctor Who being a family show is that it ends up preventing authenticity. By which I specifically mean there's no damn way that Donna's response to some of the things The Doctor says wouldn't have been "Fuck off."

[davidtennan-t]

It’s been 18 years since Doomsday aired - so that means it’s been 18 years since the Doctor met Donna for the first time. Who would have thought all these years later, they’d be family ❤️

[nevarroes]

i know a piece of furniture hate to see gortash coming

[noblehouseofgay]

Enjoying the view?

Based on this post (taller regulus)

Jegulus microfic w/ platonic moonwater

Slightly nsfw

✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *✧･ﾟ:*

"Alright, should work." Remus picked up the vial and handed it to Regulus. "If it kills me my brother will kill you."

"You helped make it, Black. Mr 'a year ahead in potions' should be confident in his work don't you think?" Remus smirked. "Is there, perhaps, another reason you're delaying?" "Shove it, Lupin." Regulus downed the purple liquid.

It was salty and thick, he coughed a bit after getting it down. "Fuck that's nasty." Remus shrugged and started cleaning up the workspace.

"Oh this is fucking weird." Remus looked back over at Regulus. He couldn't help but laugh a bit. "No kidding."

Both boys were practically the same height now, almost eye to eye. "You know, Lupin, I could get used to this. Taller than my boyfriend and brother? Plus the gender euphoria." The black haired boy stretched a little. "We just might have to make this permanent." "Yeah, said brother and boyfriend would kill me for letting you do that." "You're no fun, Lupin. Whatever, I've only got a couple hours to use this to my advantage."

Regulus left the library and headed for the gryffindor common room. This is so disorienting. Is this how Remus sees the world?

Regulus whispered the password (given to him by James of course) and headed for his boyfriend's dorm. Remus assured him Sirius was out with the girls tonight, so James should be all alone. Lucky him.

He opened the door, finding his boyfriend standing over a desk. "Hey love, that you?" Regulus smirked and walked up behind his lover. "It is." He gently put his hand around James' waist, turning him towards Regulus. "Hey-" James' eyes slowly moved up to meet Regulus'. The now shorter boy couldn't seem to breathe. Regulus just watched, a smirk never leaving his face.

"Enjoying the view, baby?" "I- h- how- god- what?- holy fuck-" Regulus laughed a little. He slotted his knee in between James' legs and watched as his face turned redder. "Is this how you feel all the time? Because it's really a power trip, I'll tell you that." Regulus gently bent James back against the desk. "You've been so quiet, love. Anything to say?"

"I need you to fuck me. Like immediately." James choked out the words, barely getting through them as Regulus pushed his knee against the bulge in James' pants. He kissed up James' neck and got close to his ear. "I would love to."

[sentientsky]

there’s something about the series of doctordonna activation words that 14 uses in the star beast that sends chills down the length of my body.

“grief. fingerprint. susurration.”

cause they’re all the leftover bits, right? grief as the aftershocks of love. fingerprint as residual touch. susurration as the quiet murmurs that remain when all other sound dies.

and it makes sense. because the process itself is a sparking of kindling, a resurrection of the doctordonna—of the leftover bits of time lord still lodged in the marrow of her bones

[geraskierfanficprompts]

Before the Sacking, some noble houses would sponsor witcher schools. It was a show of wealth and prestige, which also had the added benefit of putting one's territories higher on the witchers' list of priorities.

Of course, the sponsors abandoned them when the witchers' numbers dwindled too low to prioritize any territory.

Thus, it was a shock to all of the wolves when they received a letter from the Viscount of Lettenhove offering them a sponsorship contract. Was this a joke? A twisted plot to kill the rest of them? Did this Viscount know they couldn't possibly offer him any sort of special treatment?

Despite their doubts, the wolves sent a representative to Lettenhove. Geralt was the most likely to survive a trap, and his reputation couldn't possibly get lower if he had to fight his way out.

Geralt braced himself for the worst. He had his guard up as he arrived in Lettenhove, as he was received graciously, as he met the surprisingly young and handsome Viscount.

"You must be tired from your long journey. I have a bath and food prepared."

"I'd rather see to the contract first."

The Viscount placed a sheet of parchment before him, and Geralt read the contract. He read it again. A third time to be sure.

"What the fuck is this?!?" Geralt growled.

"I thought the conditions reasonable."

"It's completely one-sided!" Geralt waved the contract in his face, like that would help the Viscount see the situation clearer. "You can't be serious!"

The contract, if you could even call it that, basically guaranteed an allowance for the wolf school and safe lodging for them in Lettenhove or any of the Viscount's properties.

In exchange for...stories. The wolves would have to visit the Viscount to tell him about their hunts.

What the fuck?

"I am deadly serious," the Viscount responded, and Geralt could tell it was the truth. "You see, witcher, I have an excess of responsibilities, so I lack the freedom to travel. However, I have the means to pay someone to share their experiences with me. I thought 'why not pay someone who actually needs the money?' You witchers are famously underpaid."

Geralt stared at the noble uncomprehendingly. If the Viscount was looking for entertainment, Why not hire a bard instead?

"Should you need time to consider it, you may stay as long as you like. Your rooms--"

"We'll sign."

The Viscount's proper facade cracked, and the man beamed like a child. "REALLY?!?"

Geralt nodded. He couldn't understand the Viscount, but he also couldn't deny that he and his brothers needed the money.

I LOVE THIS I LOVE THIS I LOVE THIS!!!

[lilyslark]

sirius really spent 12 years in solitary confinement with nothing but dementors for company, only to be locked up in his abusive childhood home for a year, and then murdered by his own cousin the one time he left it to protect harry.

it’s no wonder that sirius was such a healthier parental figure to harry during goblet of fire. he may have been alone and on the run, he may have been forced to live in a cave and to eat rats, but at least he was free.

[poorly-drawn-mdzs]

You're mine now, old man.

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[inky-duchess]

Fantasy Guide to Royal and Noble Jewellery

Royal and Noble jewellery is a staple of their life, a statement of the who is person is, their rank and their wealth. Jewellery simply isn't a accessory, it's an exercise in showmanship and a way to link to a past.

(Disclaimer: Many stones in pieces often have a bloody past, usually stolen or worked from the earth under the reign of Colonialism. It is best to always take this into account when admiring real world pieces)

Providence

Jewellery like this is usually inherited buy can also be bought or even given as a gift. There is three kinds of jewellery in this instance: private, owned by the crown or owned by the state.

Private jewellery is owned by a single person and worn or lent at their own descretion. Private jewellery can be no less grand than state owned jewellery. This jewellery can be inherited by anybody the owner chooses.

State jewellery is not privately owned, it belongs to the country itself. It is not inherited but used by royal family. If a royal family is deposed, the jewellery remains with the state. Such as the French Crown Jewels.

Owned by the Crown means that it can only pass monarch to monarch, worn only by consorts or the monarch and lent to anybody they choose.

Noble jewellery is not quite the same. Much of it is owned privately but there may be one or two pieces designated as official jewellery for the title such as a specific tiara.

The Rules

Jewellery like this are not just trinkets to be borrowed by anybody. Usually the monarch (or titled noble) or sometimes the spouse, is in charge of designating who can be lent which pieces and for what occasion. Even if you are a super close member of the family, you still have to take what's on offer. Sometimes certain jewellery is worn exclusively by a certain rank say the Queen or the noble themselves and would not be offered to anybody else. For example, you will note that into today's royalty you will see certain royals repeating the same tiaras such as Kate Middleton who has only worn the Cambridge Lover's Knot, the Strathmore Rose Tiara, the Lotus Tiara and once, the Cartier Halo Tiara. These would be the tiaras available to them, which usually number only a handful. Certain pieces are designated by for the monarch/Consort as well, the Vladimir Tiara & the Girls of Britain and Ireland Tiara only graced the head of the Queen in her reign. Other pieces such as earrings or bracelets would also be distributed accordingly, more elaborate and expensive pieces would be worn by the higher ranking members. Certain collections are meant to be passed on, such as the Consort's jewels but many Dowager refused to pass on their jewels such as Empress Dowager Maria Feodorovna after the death of Tsar Alexander III.

Treasure Trove

Now, just because a family has a throne or a grand title doesn't mean they have caches of jewels. Many noble families sold off their pieces to pay death duties, most only have a few pieces left today. As for tiaras most noble families would not have access to large quantities, usually only affording one or two. The Spencers for example own two, the Spencer Tiara and the Spencer Honeysuckle Tiara. This is an inaccurate protrayal in Downton Abbey, as the family have at least 6 but then again Cora is a Dollar Princess so it could be possible to own as many but it never made sense considering just how many times they almost loose the estate and never sell any off. Royal families are not exempt from this either, some families have vast stores of jewels such as the British Royal Family (I wonder where those all came from...) while the Greek Monarchy (discontinued) has only a few pieces. The Romanov collection is of course legendary and we may never know it's full extent.

[transmasc-rose]

I'm thinking about the horror of the Doctor from the perspective of non-companions again, especially as it relates to people those companions know.

Rose? "Ran away" (not wrong) for "a year" (a week) with a "man" (alien) "twice her age" (approximately 50 times her age but yeah, he is Time Lord middle aged), and then gives absolutely no explanation for how or why that happened, except that she was "travelling".

Then when her mum does get an explanation (which, frankly, is only comforting because of the unfamiliarity of the alternative given. The devil you know.), Rose barely checks back in.

She almost dies for him. When she thinks he's dead, she's changed in a way her family doesn't know how to handle. Then she's gone for who knows how long and comes back with the Doctor wearing a new face.

When her original tenure as a companion ends, and Rose lives in Pete's World, she works for Torchwood/UNIT (they become the same organization). She volunteers for the Dimension Cannon. She explains to the alternate earth how to rig up a time machine.

She's changed in ways that no one else can really understand.

Amy? There's everything with River Song of course (though I'm still not there in my viewing), him running away with Amy the night before her and Rory's wedding, and also the connection between the Doctor and the Time Crack being the reason all of Amy's family's dead. Obvious stuff.

However he's also the strange man who broke into this child's house and made a mess of her life that she never got over, that promised to take her away from here, that she wrote about and drew and carved and made her friends dress up as.

And they sent her to psychiatrist after psychiatrist without any help. In their perspective, to work through what she imagined. In her perspective, to tell her that her reality wasn't real.

And then he comes back.

And to some extent, later, when he shows himself to everyone, isn't that more frightening? That the story your child told you, of the strange man she met as a child, of time travel, of nearly being stolen away, hadn't been a lie, or a misinterpretation, or an imagining?

And so he shows up at her wedding. And steals her away again.

Donna I feel like has the least horror until her final episode. I think exploring the in between section of her meeting the Doctor and finding him again would be interesting, but not exactly horror. More an exploration of how obsessive the companions can get about him, how it eats their whole lives with even one encounter, even as it makes them better people.

And then, obviously, the horror of having your mind altered and erased against your will by someone you trusted. For your own good, of course. Because he knows best. How could you know better than him? He's ancient. He's practically all knowing.

Shouldn't you be grateful?

(And he's forgiven.)

[piniatafullofblood]

my roman empire is the way no companion ever tells them no. it’s icarus rewritten. Not one of them had a safe introduction to the doctor. their lives or their families lives are risked. it’s the most terrifying experience of their life. but the box is bigger on the inside, and that’s incomprehensible, and the humans will always reach towards the sun in an effort to hold it

. everyone who’s seen the show will always wish that they were the one he would pick because at the end of the day we want to see more. the promise of more, of sights we’ve never seen and worlds we’ve never visited is a thought well enough to make any human sacrifice their life. the companions were doomed from the beginning, and i think they knew it.

[paradox-n-bedrock]

River and Donna interacting in Silence in the Library kills me a little bit because both their worlds have just shifted off kilter. River's gone far enough back in the Doctor's timeline that she's found the one that doesn't know her yet, and who looks right through her. Donna's met someone from the Doctor's future who doesn't know her at all, but knows of her enough to say her name with awe and sorrow.

i just think if they're doing post-library big finish audios with River, it would be neat to get one with her and Donna ending up on an adventure and getting to chat a bit more

[davidtennan-t]

Ten definitely would have finished saying ‘You spilled the coffee!’ - the argument would have escalated. It would have gone on, both of them bickering back and forth until Ten more than likely would have said something so hurtful that Donna would have broken down. Because this is older Donna - she is still as fierce but she’s softer. She has a family waiting for her.

But Fourteen stops himself, realising it’s pointless putting blame on anyone, steps away and apologises. He’s thinking about Donna and the situation they’re in and THAT is the difference. Ten would have finished that sentence… Fourteen doesn’t out of love and consideration.