General

Writing Gender in Historical Context

I started writing this post about societal gendered assumptions after JK Rowling, yet again, showed her TERFy ass to the world on Twitter. (And then JKR did like six other things in the time it took me to compose and polish this). It’s something I want to address, because these are concepts I’ve engaged with in writing Give Way to Night and the Aven Cycle as a whole, and they’re things I look forward to being able to depict from another angle when I write something that isn’t historically-rooted.

To begin: Things like menstruation and giving birth can be powerful manifestations of womanhood. They also don’t have to be. There are many cis women who don’t find value in those manifestations for any number of reasons, there are women who don’t have uteruses and therefore don’t have those experiences, and there are people with uteruses who aren’t women who have their own feelings about the intersection of body and identity. If they are meaningful for you and your relationship to womanhood, great! But these things are complex, and they don’t carry the same meaning for everyone. Sex may be a biological reality, but it has so many more ways of expressing itself than dropping everyone into either a pink or a blue bucket, and gender is a societal construct. (And if you don’t believe me, maybe you’ll believe Bill Nye and his “smoking-hot abacus of sex”).

There are two scenes in Give Way to Night that deal with prominent-but-not-universal aspects of uterus-having life: childbirth and menstruation. My challenge was that the historical setting means I’m writing in a world that does not have the language we do for concepts of gender (or sexuality, for that matter, but that’s its own large topic).

The barrier of conceptual availability is frustrating, in this as in so many other aspects of writing historically-rooted fiction. The cultures of the ancient Mediterranean were rigidly gender essentialist. That manifested differently in different areas (witness Athens versus Sparta), and certain aspects did wax and wane over time, but the dominant paradigm of patriarchy encouraged definition. To the best of my knowledge and research, it would not occur to people living within those cultures that a man could menstruate or that a woman might not have a uterus or that someone (who wasn’t a god) might be neither man nor woman. There are very, very few extant examples of people we would now recognize as nonbinary or transgender in the Roman world. That doesn’t mean they didn’t exist, of course! But it’s impossible to know how they conceived of themselves within the boundaries and the language of their world, because we have so little even written about such people and pretty much nothing in their own words. I say “pretty much nothing;” there is nothing that I’m aware of, but while I am well-researched, I have not read All The Things That Exist. If anyone knows of a first-person account of a transgender or non-binary person from the Roman world, I would love to read it. The language of self-definition is powerful, and it’s something I try to get as close as I can to in all my research — but the silencing of so many voices is one of the great tragedies of history.

Too, the few written records about individuals who may have been outside the gender binary are… not complimentary. The language is that of aberration and transgression, particularly where male bodies adopting feminine traits are concerned. It was a patriarchal world; being seen as “giving up” manhood to adopt the subjugated state of femininity was considered disgraceful and worthy of a punitive response — an attitude our modern world has not entirely escaped, considering the treatment of and frequent violence towards trans women. The Emperor Elagabulus, who expressed the desire to live as a woman, is one of the most vilified, denigrated, and ridiculed figures in Roman history. Wearing the clothing of the opposite gender was permissible as part of Saturnalian revels at least in some periods, but the rest of the time, it was both punishable and punishment. There were some religious rituals, which migrated over from Greece, that involved gender-blurring up to and including self-castration, but those were considered well outside the bounds of everyday life, and the cults involved were not always favorably received. The writer Lucian posits the idea of someone “born a woman” but with “the mind and the desires and everything else of a man” — but Lucian is a satirist, and so it’s difficult to map his joke about the concept onto how people were actually living. Again, we have the dual barriers of conceptual availability in the time and the lack of first-person records.

Mythology doesn’t do any better; the gender-swapping of the prophet Tiresias is a punishment upon him and thus inextricable from misogyny. The tale of Iphis and Ianthe, where the gods transform a girl to a boy so she can marry another girl, might be read as transgender, and some modern interpretations have claimed it as such. Its point within its cultural context, however, is to reinforce heteronormativity and eliminate any transgressive element. (See Ovid’s Metamorphoses, which definitely reads like an anti-lesbian tract; I love Ovid’s way with words, but when it came to gender and sex the man was an absolute nightmare).

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Illustrations of Tiresias from Die Verwandlungen des Ovidii (c. 1690) by Johann Ulrich Krauss

While the historical cultures informing the Aven Cycle were gender essentialist, I didn’t want the narrative to be. So I have tried to choose my language carefully, to illustrate that just because a character’s worldview has certain boundaries, that does not mean the boundaries are factual reality. In the opening scene, a female character is giving birth (okay, this isn’t a spoiler since she’s hugely pregnant in From Unseen Fire; it’s Neitin), and I initially informed the reader that, for the Lusetani, “this was the time of a woman’s greatest power”. Even with the Lusetani-specific disclaimer, though, upon reflection I still wanted to put a little more distance between those concepts. I changed the phrasing to “this was a time of great power”. Not the only time, perhaps not even a superlative time for everyone experiencing it, and — though the Lusetani themselves might not recognize it — not something necessarily belonging only to women. Later on, a male character refers to menstruation as a women’s issue, because those are the lines of the world as he knows them — and another character points out, explicitly, that the world is not always so neatly-boxed-up as he may prefer.

I’m anxious about those scenes. I should be anxious about them! This is important stuff, and I need to be mindful. It was important to me to include those aspects of uterus-having life and to frame them as powerful, because they are so often ignored, denigrated, or treated as a weakness, in reality and in fiction. That they are ignored, denigrated, and treated as weakness is inextricably interwoven with misogyny and with cultural perceptions of them as “women’s issues” — but that does not mean they are all women’s issues or women’s issues only.

I may well have gotten something wrong in trying to thread that needle, not least because no group is a monolith and not everyone will respond the same words the same way. I’m still learning how to be a better ally (to say nothing of a better writer), and I will keep trying to do better.

The WIP I’m working on now is in an invented secondworld, and that gives me a lot more freedom. I’m still figuring out exactly how I want that world to conceive gender and sexuality, along with the language they’ll have to express such concepts, but I know it won’t be strictly tied to a binary. It’s going to be a queernorm society, and while that’s so freeing in some ways, it also prompts me to do a lot more work thinking about the implications for everything from domestic life to the economy. Removing the patriarchy removes a lot of assumptions about how the world works. It’s the sort of thing we explore on Worldbuilding for Masochists, and a lot of what I’m trying in that manuscript was informed by topics brought up on the podcast. I’m really looking forward to writing a fantasy story that, while it has a historical aesthetic, will reflect modern understandings and be capable of celebrating more life experiences.

In short: uterus does not necessarily equal woman, trans women are women, trans men are men, non-binary people are non-binary people, and no one gets to invalidate how someone else negotiates their relationship with their own damn body.

General

Cover Reveal: GIVE WAY TO NIGHT

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So let’s talk about this cover!

You may be noticing that the lady on the cover is very not-blonde. Give Way to Night brings Vibia — prickly, focused, suspicious Vibia — into sharper focus. While Latona and Sempronius are still the primary POV characters, Vibia claims the next slot. Much of this book is from her perspective, and I so greatly enjoyed getting into her headspace as a counterpoint to Latona’s. They are polar opposites in personality, but they share common goals, and much of the story of Give Way to Night is in how they learn to work together to protect the people around them.

Artist Micah Epstein did wonderful work in bringing Vibia to life. She’s much sharper than Latona, and I think her personality really shines in her face. She’s standing in a threshold, a place of power for Fracture mages. In From Unseen Fire, Latona had to learn how to embrace the power she had always been afraid of, because she’d been told she had more than was appropriate. Vibia’s sort of fighting the opposite battle; she’s always considered that she only has a touch of divine blessing — but she’s also had to keep tight-reined control over it, because Fracture can so easily lead to chaos. In Give Way to Night, Vibia comes to realize she’s capable of more than she’d previously considered.

And about that Fracture magic… I’m so delighted that we were able to keep the crackled-fresco look that we had in From Unseen Fire, and I love the added detail of that light bleeding through. What might that prefigure? Well, you’ll just have to read to find out, won’t you?

Also, green is my favorite color, so on a purely childish level, I’m very happy to have a green book.

Give Way to Night releases November 10th! Pre-order now to return to Aven:

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Announcement: Worldbuilding for Masochists!

I am so excited to announce that, starting this week, I am one of the regular co-hosts for the Worldbuilding for Masochists podcast!

I’ve been a guest on this podcast twice ere now, and I am absolutely delighted to be joining Marshall Ryan Maresca and Rowenna Miller on a regular basis. Twice-monthly, we’ll be exploring the bones of fantasy worlds — historical, cultural, geological, grammatical, all of the things a writer can use to give life and veracity to their world. We have some wonderful topics lined up for the show’s second season, and I cannot wait to delve into them with my fabulous co-hosts and some amazing guests.

If you’ve followed me for a while, you’ve probably gleaned that this is the sort of stuff I absolutely live for. Sometimes I feel like I should’ve gone into RPG design, because I so adore exactly this sort of work. I’ve certainly done plenty of it for the Aven Cycle! (And members of my Patreon get to see that on a weekly basis, since all the microfiction I release draws from the paratextual material that doesn’t fit into the books). What I’ve loved about WfM as a listener, and what I can’t wait to probe more as a co-host, is the challenge to presumptions: really interrogating why things are the way they are, and not just taking our current lived reality or our perceptions of historical reality and lumping them into an invented world without due consideration. It’s already affected the way I’m thinking about my secondworld WIPs, and I’m eager to keep pushing myself to think harder and deeper about the constructs I’m creating.

So! Whether you’re a writer looking for some prompts to help you flesh out your world or a reader hungry for insights into how we wild authorial folk do the things we do, hit that subscribe button on your favorite podcast platform!

Bits of Fun, General

A World of Figures Series: The Rhetoric of Memes

So y’all know how much I love rhetoric. I’ve decided to come back to the World of Figures series, which I’d sort of abandoned in favor of the Hamilblog on Patreon, so that I can explore some rhetorical concepts in more depth.

All memes work because of repetition. That’s their very nature. Memes can also be seen as a type of metonymy, a type of metaphor in which a symbolic token stands in for a person, place, or idea. Think of a crown representing the power of monarchy, or the ways that emoji represent your mood or your response to something.

A simple example of metonymy in memeage would be the use of popular reaction gifs in many situations. It’s a repeated image that takes on cultural context of its own over time. If it achieves great enough saturation, you don’t even need to include the image itself to reap its benefits. Say there’s some drama going down on twitter. I could insert an image as a reply — or, I could type “[MichaelJacksonpopcorn.gif]” — and a meme-literate audience will know exactly what I mean. It works because of repetition — an image that has been seen enough times by enough people to be recognized even without the image itself — and it works because the image stands in for the idea “I am vicariously enjoying this while staying out of the mess”. That’s the metonymy.

Other popcorn gifs carry slightly different connotations — different exercises of metonymy. [DuleHillpopcorn.gif] is a little more active, implying a more engaged spectator, its connotation less petty but perhaps more visceral; [gazellepopcorn.gif] is by contrast a bit more passive, implying a spectator at a greater state of remove from the drama. [popcorn.gif] on its own might invoke any of these, inviting the reader to draw their own particular out of the abstract.

(Okay, if you aren’t familiar with those gifs, I bestow them upon you now.)

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Many memes, however, flourish not through repetition alone, but through the transmutation of the original material. This phenomenon often occurs in what Know Your Meme calls “Object Labeling” memes, where words are imposed on an image to make a point.

I would argue that these memes become a form of antanaclasis. In verbal rhetoric, antanaclasis is the repetition of a word with a different meaning in the second usage. An example from 2 Henry IV‘s Falstaff: “O, give me the spare men and spare me the great ones.” In the first case, “spare” means “extra”; in the second, “save me from” or “let me do without”. Our brains appreciate that the shape and sound of the word is the same, but its underlying meaning has changed. Similarly, in the visual rhetoric of memes, there are instances where the shape of the meme is the same — the basic format, the image, and so forth — but the details create a different meaning grounded in the same context.

Some memes also function, in and of themselves, on a rhetorical basis. That is, they work on our brains in the same way that a particular rhetorical figure does. Take “Distracted Boyfriend“:

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The meme usually works by imposing something you should be giving your time/attention onto Blue Shirt and the distraction/temptation onto Red Shirt, like so:

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This meme works on the basis of hysteron proteron: the disorder of time, when what should be first comes last. In this meme, it works like this: For those of us in cultures which traditionally read left-to-right, we tend to first register the words imposed on Red Shirt first, then on Boyfriend, then on Blue Shirt. (Font choices and positioning can alter this somewhat; sometimes it’s easier to notice Boyfriend first, but if our brains are used to reading left-to-right, they’re still going to try to go to Red Shirt). This is something of a temporal inversion. Logically, the first thing of relevance is Blue Shirt. That is the status quo, the origin point, the reference. Neither Boyfriend nor Red Shirt have any relevance without it. And yet it’s the last thing we see! Our brains work in reverse — and that’s part of why it’s funny. It also enhances the visuals: in finding out Blue Shirt’s importance last, we also get to share/appreciate the expression on the model’s face.

Consider this reversal, which (I suspect unawares) calls out the nature of the rhetorical form — and isn’t as funny!

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There’s no surprise there! It makes logical sense and progresses, but our brains don’t get to enjoy the inversion of expectations. The meme relies (at least in part) upon the Incongruity Theory of humor: something that rubs contrary to our expectations and established mental patterns is more likely to be funny. Cicero talks about this in On the Orator: “The most common kind of joke is that in which we expect one thing and another is said; here our own disappointed expectation makes us laugh.” (For more on that topic and humor in general, I’m going to shout out my W&M professor John Morreall, whose scholarship I still think about all the time in so many contexts).

Now, this meme also allows me to offer an example of another type of visual rhetoric: when the composition of the meme is re-created but with different figures.

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Appreciating this one takes a little Star Wars context: “Red Shirt” becomes Princess Leia, “Boyfriend” is Han Solo, and “Blue Shirt” is Qi’Ra, whom we learn in Solo was his first love. The cosplayers have taken the meme in a different direction, altering the image rather than imposing new text. It feels, to me, like a visual kind of isocolon, parallel structure. In written language, that’s the repetition of syntax. Take Brutus in 3.2 of Julius Caesar: “As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him: but, as he was ambitious, I slew him.” But in memeage, the pattern is visual rather than verbal.

I feel like this topic, the visual rhetoric of memes, could be a whole interdisciplinary dissertation. I’ve found myself thinking about it more and more, and since memes don’t appear to be going anywhere, it’s likely well-worth the study on the similarities and differences of their effect on our brains as visual language.

Or, I’m just This Much of a dork. 😉

Want more rhetorical goodness? Or want to be the first to see these posts before they hit the blog? Join my Patreon at the Patricians+ level to make sure you don’t miss out on anything!

General

Hearing Voices (In a Good Way)

This article from The Guardian crossed my eyes the other day: A survey of authors reported that 63% said they could “hear” their characters talking, and 61% felt their characters had their own agency (although what, precisely, that means has a lot of variance).

“I hear them in my mind. They have distinct voice patterns and tones, and I can make them carry on conversations with each other in which I can always tell who is ‘talking’,” said one anonymous writer. “They sometimes tell me that what I have in mind for them isn’t right – that they would never behave or speak that way. I don’t usually answer back,” said another.

It links to something I read a few months ago that fascinated me — the idea that some people have no inner voice. No internal monologue? No ability to narrate everything you do? I literally can’t imagine it. My brain often has more than one audio channel running at the same time. I wonder if those people are better at meditation and yoga, because I’ve often thought the reason I’m so bad at them is because my brain is utterly incapable of being quiet. The internal monologue never ceases.

I am absolutely one of those who can hear my characters. Some have stronger voices than others — usually the characters who popped up without my having to craft them. If I’ve needed to build a character to fill a specific story need, the voice often isn’t quite as strong. But the ones who come naturally, those are the characters whose voices come through loud and clear.

In the Aven Cycle, it’s Aula who first occurs to me when I think about this. From the very beginning, her voice was so strong: I can hear its tone, its cadence, its tics and quirks. I almost never have to wonder about the words I write for her; the dialogue flows entirely naturally. Latona takes a little more finesse — not least because she is more likely to weigh her words and decide what she can or can’t say based on who she’s talking to, whereas Aula has fewer filters. Alhena, though, shy and reticent, has even more. I can also “see” most characters, as the article mentions — how they move, what their gestures are, how they interact with the environment. I’ve wondered how much of this is due to theatrical experience. I’m always thinking of what the “stage business” would be. All of these things add up to more than the sum of their parts: they help inform a reader about who the character is, what’s important to them, how they process the world.

I don’t experience what some of the authors in the article say, though, in terms of a character “talking back”. They don’t address me. They aren’t aware they’re being written; they exist in their world, and it’s one I can manipulate. When something feels off and isn’t working, it’s because I haven’t fit the pieces together properly. I operate more like what Val McDermid describes:

“I do not think they act independently,” McDermid said. “They have the life I give them and no more. … I don’t think I’m possessed by the characters; I just think my subconscious is good at processing data.”

I love that idea, because it ties in to what the article says about how people interact with each other in real life: our brains are constantly trying to make predictions, and they update their predictions based on newly-input data, all the time. Some writers’ brains, it seems, do the same thing, just with the people we’ve invented. Our brains collate and process that data, and just like we can tell if a well-known friend or family member is behaving oddly, we can tell if something isn’t working for a character when we play out an imaginary scenario for them.

This is yet another place where fanfic can be, truly, such amazing training for a writer — because what we’re talking about, really, when we talk about a character having their own agency or “talking back” or “refusing” to do something — is the idea of being OOC: Out Of Character.

With fanfic, when you’re writing established characters, you’ve got existing data to rely on: the characters’ words and actions in canon. If you’re writing fanfic for a movie or TV series, you get the added bonus of the actor’s appearance, voice, and mannerisms. Your brain can process all of that data much like it would a real person. It makes it much simpler to test the dialogue and actions you write against “what they would really do”. There’s a sort of answer key you can check your work against. It operates on a lot of levels — choices they make, actions, love interests, all sorts of things. But in terms of “hearing a character’s voice”, specifically, canon provides a basis for dialogue (or internal monologues) in fanfic. If you write something that goes against the grain of established vocal patterns, it’s going to feel wrong.

(That wrongness can also be used within canon for comedic effect: One of my favorite things in the MCU is any time Loki impersonates someone, because you get this wonderful tangle of another actor pretending to be Tom Hiddleston pretending to be Loki pretending to be someone else. Or in Harry Potter, there was the great joy of watching Helena Bonham Carter play Emma Watson’s Hermione pretending to be Bellatrix. Body-swapping scenes like that present a challenge for both writer and actor, but when done well, they are so good — I suspect in large part because of the mental jungle gym they give our brains to exercise on. And oftentimes the real actor for the character will play out the scene in rehearsal for the other actor’s benefit, giving them something to check against in much the same way that canon gives fanfic that mark).

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Picking apart why dialogue feels OOC is great training for a writer, because that drills down into the nitty-gritty of how words work and why. What about these words is wrong? Is it about word choice — words that are either too complex or too simple for a character, or slang they would or wouldn’t use? Are you using too many filler words and verbal pauses (um, ah, look, well, etc), or not enough, or the wrong type? Is it the cadence — are the thoughts too long or too short, do they rise and fall in the wrong places? Is it more emotionally-based — something a character wouldn’t admit out loud, or at least wouldn’t in these circumstances? Is it too blunt, or too circumspect? How about the tone — is it too snarky, too earnest, too casual, too formal? Would this character use profane language or minced oaths? Do they think before they speak, weighing their words carefully, or do they speak without a filter?

And then, if you’re the sort of writer inclined towards original work as well as fanfic, you can apply these lessons even when you don’t have a canon outside of your own brain to check against.

In From Unseen Fire, I remember a scene that changed from a conversation between Latona and Rubellia to one between Latona and Aula. The information conveyed was the same, but I had to tweak the dialogue in a big way, because Rubellia’s speech patterns are not the same as Aula’s. Because I’ve spent so much time thinking about how words work (and rhetoric plays a big role in this), I can break that general sense of wrongness down further into granular parts: Aula uses more parentheticals, more terms of address; her flow is both faster and choppier, while Rubellia’s is more evenly-paced, with longer thoughts; Aula exclaims, while Rubellia does not. I had a similar experience working on Give Way to Night, in a group scene that involves all three Vitelliae, Rubellia, and Vibia. The original version of the scene was missing Rubellia and Alhena; adding them in changed the balance of conversation. I had to think more critically about who would say what when, who conveyed which information, and what words they used to do so. Alhena offers information more timidly than the others in the room; Vibia doesn’t waste words by cushioning what she says with platitudes or endearments. Small details, but they’re what can really sell a character — and help a reader to understand them, without having to spell every aspect of their personality out in the narration.

How about you? Are you someone who hears voices when you’re writing or reading? Does your brain process interpersonal data that way?

General

Give Way to Night Pub Date and Buy Links!

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Big news! And it’s gone live on Goodreads and the buy links, so I am as safe as I can be in announcing that Give Way to Night: Book Two of the Aven Cycle will be released on November 10th, 2020!

This is all gods willing and the creek don’t rise, of course; the pandemic is already leading to a lot of shake-ups in spring and summer releases. It’s far too early to know if it will affect the fall — but right now, this is the plan!

Where to pre-order:

Pre-orders are hugely important for authors, because they tell the sales people how much interest there is in a book, how many to order, what kind of placement to give it — and that can, in turn, affect publishers’ interest in an author’s next books. So give future!you a treat and make sure you’ll have Give Way to Night on its release day!

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Aven Cycle Book Two Title!

Book Two officially has a title! I’m delighted to announce that Latona, Sempronius, Vibia, Neitin, Aula, and all the rest will be back in…

Give Way to Night

I’m really pleased with it. Unlike From Unseen Fire, where it took ages to arrive at something that made everyone happy, this had immediate unanimity. It was on my list of ideas, and it was the favorite pick of both my agent and editor. It’s poetic, it reflects the darkening world of the second book, and it reaches out a bit in theme to Sempronius and Vibia.

Because I truly am useless with titles, I did steal this one (with sight grammatical adaptation) from Latin poetry as well. Where From Unseen Fire comes from Lucretius’s De Rerum Natura, this is a phrase out of Ovid’s Metamorphoses:

“It would take too long to tell what wickedness I found everywhere. Those rumours were even milder than the truth. I had crossed Maenala, those mountains bristling with wild beasts’ lairs, Cyllene, and the pinewoods of chill Lycaeus. Then, as the last shadows gave way to night, I entered the inhospitable house of the Arcadian king.”

The context has no relevance, really, but I do like the sense of descending into eerie darkness that the passage has. Although, now that I think of it, the pinewoods and the house might both be seen as hints to the action… but, I say too much. 😉

Panoramic view of the Roman theatre in Palmyra (from Wikimedia Commons)
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Worldbuilding for Masochists Podcast — Expansion

This week, I had the great delight to be a guest on the Worldbuilding for Masochists podcast!

Go listen. Listen to the episode I’m in, then go back and listen to the other eleven, then listen to the one I’m on again, then keep listening to new episodes as they come out.

The podcast as a whole discusses the process of worldbuilding for fantasy novels. So far they’ve covered basics like geography and deep-dives into things like fiber arts. I’m in the episode “The Play’s the Thing”, focusing on the arts and popular entertainment. A natural fit for a Shakespeare scholar, really, and I do spend a lot of time in the episode nattering on about early modern theatrical culture. We talk about the socioeconomic conditions surrounding art, how technology affects art, and the role that art and entertainment play in society and politics. Honestly, I could’ve gone on for another six hours. Recording the podcast was an absolute blast, and I hope you’ll enjoy listening to it.

While I mention a few things to do with ancient Rome in the episode, I thought I’d expand a little bit here and talk about some of the pop culture that shows up in From Unseen Fire, and some of the things I’m building into Books Two and Three as well.

Panoramic view of the Roman theatre in Palmyra (from Wikimedia Commons)

A lot of the arts and entertainment in the Aven Cycle show up at the patrician dinner parties. Socioeconomics, after all! The people with lots of disposable income are the ones who can burn a lot of cash amusing themselves.

Dancers are mentioned both at the Vitelliae dinner party early in the book and at the Autroniae Saturnalia revels towards the end. Dance was a spectator sport for most Romans by the end of the Republic. Earlier in their history it may have had religious purpose and been something citizens even of high status would have engaged in, but as the centuries went on, it became considered more vulgar. Country peasants might have danced for pleasure, but for Romans in the city, dancing was something to watch, not do. The dancers would have mostly been slaves or perhaps freedmen and women of very low social status, on a level with actors.

What sort of entertainment did the Romans (and, thus, my Aventans) actually engage in? Wordplay tops the list. Riddles were a common form of game at parties, as Marcia Tullia shows us during the hunting getaway at her country estate:

“Let’s have a game, instead. I heard an excellent riddle at Appia’s last party. Dear, would you be so kind as to share it?”

The Romans loved puzzles and paradoxes akin to the Two-Door Riddle made famous by Labyrinth. They also played with visual puzzles like rebuses, and even carved riddles on some tombs and funerary monuments. Thinking of them trading these things at parties and in taverns, I’m reminded of learning the Green Glass Door riddle as a Girl Scout; we played it for a ridiculously long time. (And if you don’t know that riddle, oh please allow someone to tell it to you in-person rather than googling it). We humans are clever monkeys, and we like things which test our wits.

Poetry for the Romans came in many forms — some of them regarded as high art, others as common vulgarities. Nor did the poets necessarily limit themselves to one side of that spectrum or the other. As I mention on the podcast, my favorite Latin poet, Catullus, certainly did both. One of my favorite scenes is the doggerel poetry game that Autronius Felix plays with Urbanus, a character who is designed as sort of a mix between Catullus and Ovid:

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They then move on to skewering particular targets — political opponents of the Popularists. That’s also true-to-history. A ton of Latin poetry has either overt or implicit political purpose, and it’s often pretty crude. When we see Urbanus again a bit later, though, he’s reciting a more highly-regarded form of verse — which, I must confess, I pretty much straight-up stole out of Ovid’s Fasti.

But though we see a lot of artistry at the fancy dinner parties, entertainment is not limited to the upper crust of society. Music could be played and enjoyed by anyone. A musical education was part of patrician upbringing, though certain instruments like the pipe were considered improper for the highborn. Plenty of murals show highborn ladies, particularly, with lyres and similar instruments. Nero didn’t fiddle while Rome burned as popular legend would have it — because, for one thing, the fiddle hadn’t been invented yet, and also because he was nowhere near Rome at the time — but he was known to play the cithara, an instrument more like a lute.

Music served many functions in Roman life. It was used during religious rituals and during funerals, during festivals and in theatrical productions, but it also infused daily life. It’s from the ancients that we get the idea of shepherds playing upon pipes. In From Unseen Fire, as Latona walks with Sempronius through the markets after the Cantrinalia, she hears the flautists and other musicians hired by merchants to draw attention to their stalls. That’s historically-based — ancient merchants didn’t have commercials or mannequins to get the word or draw the eye, but they were plenty creative. Some would even have trained animals at their stalls — juggling monkeys and the like.

Music also played a role in war: horns and drums were used by the legions to keep time while marching and to give orders during battle.

Plays were also popular entertainment, though of a very different stripe from the early modern theatre that I spend a lot of time discussing on the podcast. The Romans had both tragedy and comedy, though no tragedies survive from the Republic era and few from the Imperial era. Seneca’s are the best well-known, while Plautus and Terence are the most famous of the comedic authors. Roman comedy tended to be quite bawdy and relied heavily on stock characters similar to those which would eventually develop in commedia dell’arte. Although playwrights could be well-regarded and plays themselves were entertainment for all classes, actors were of extremely low-status, on a level with criminals and sex workers.

In From Unseen Fire, as part of conversation at one dinner party, Old Crispinia asks Latona:

“Now, tell me what you thought of that play where I saw you last week. Damned frivolous piece of tripe, if you ask me—”

In the earlier draft, I actually named the playwright (Practus), but when my editor asked me to trim down on the total tonnage of the names I inserted into the manuscript, that was one it was easy to lose. I’m imagining Practus as a Plautus analog.

Fresco image of a man with a spear fighting a lion (from Wikimedia Commons)Gambling and board games were also popular with Romans of all classes. Gambling was technically illegal during the Republic and much of the Empire, but that was a law often honored more in the breach — and it was permitted during the Saturnalia, as when we see Aula dicing at the Autroniae’s party. The Romans also played non-gambling games with dice and markers; they had board games somewhat resembling checkers and chess, and in Aven Book 2 you’ll see (assuming it doesn’t change in edits) little Lucia playing tali, a game with knucklebones similar to the modern(-ish) game of jacks.

Now, you may have noticed that I’ve yet to discuss what’s probably the most famous form of ancient Roman entertainment: the games. Modern culture mostly focuses on the gladiatorial matches, but Roman games included many more exhibitions, including theatrical performances, staged animal hunts, and chariot races — which were the most popular part of the games in ancient times.

I’ve written a very large series of events for the Aven Cycle to take place at some games. Early on, they were in Book One, but as edits went on, they just didn’t fit there anymore. I briefly thought they might fit in Book Two, but, no, it looks like they’re going to be in Book Three. I do mention games in Book Two, though, and if all stays more or less as-is, you’ll get to see a little bit of Aventan tailgaiting!

So! That’s arts and entertainment in the Aven Cycle. Go listen to the podcast. Again. ;D

General

Jigsaw Puzzle Revisions

So for the past couple of months, I’ve been revising Book Two of the Aven Cycle. It’s been an interesting process, because while I’m not actually generating a ton of new content, it’s felt like that kind of heavy lifting.

Have you ever seen that thing where an artist puts together jigsaw puzzles that have the same die cut pattern, but different pictures? That’s sort of what it feels like I’ve been doing.

I needed to rearrange some major incidents in the Aven/Latona plotline. Her story’s pacing was all out of joint. Big chunks of story needed to be moved up a lot, and others needed to be sacked entirely. Sometimes, though, bits and pieces of a scene were not just still usable, but still desirable — an important emotional beat, or some necessary observation on the wider plot. Then, the trick becomes recontextualizing the old scene for the new pacing and character arc. How can I lift this conversation, or at least its main beats, and redress the setting? Do I need to adjust the dialogue for a different mood or sense of urgency? Practically, am I now referring to things that haven’t happened yet?
There’s a lot to keep track of.

I also have to do that without things falling too out-of-sync with the Iberian plotline, where Vitellius, Sempronius, and Rabirus all are. I think I’ve kept things fairly well-yoked, but as I approach the Big Moment in the Iberina plot, I’ve still got a lot of the Aven/Latona component left to get to. (I’m beginning to have a lot of sympathy for George R R Martin, trying to weave plotlines happening concurrently in so many different locations. Not coincidentally, the new project I’m percolating for consideration as this year’s NaNo will all take place inside a single city).

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The picture above is from my bullet journal, where I’ve been trying to stay on top of all of this. I listed out every scene in the earlier draft, by chapter, with the titles I used in Scrivener. Then I’ve been marking down when I migrate them wholesale (as I can do with most of the Iberian chapters), when I’ve migrated them with alterations, when I’ve struck them entirely, and where — as with so many — I’ve migrated only part of a scene, and what it’s now part of in the new draft. I’ve also made notes on some where I know I want to include a portion of a scene in the new draft, but haven’t found a place for it yet. Some of those may end up being jettisoned if there’s just not a place for them, but this way, I can tell at a glance what puzzle pieces are still hanging out on the table.

I’m wishing now I’d left a line in between each entry, though, because some scenes have been chopped up into three or four pieces, and it’s been hard to write small enough to note where all the pieces have gone!

General

But isn’t this a girl book?

My favorite book to recommend to readers of a certain age, or those shopping for them, is Patricia Wrede’s Dealing with Dragons. It’s a perfect rec for middle grade readers with an interest in fantasy who have already consumed the “big” titles at that level — Warriors, The Unwanteds, Land of Stories, Percy Jackson — but who might not be ready for full-on YA yet. It’s great because, despite being an award-winner with a special place in the hearts of many, it is an older book, and so it doesn’t have the marketing splash that the big series do. But I read it as a kid, and it stuck with me, so I absolutely love recommending it to others.

The protagonist, feeling constrained by the expectations their life defines for them, embarks first on a quest of self-betterment. They learn all sorts of useful skills from the palace staff, everything from fighting to cooking to Latin, because they don’t just want to sit around and be waited on all the time. But when their parents try to force them into a life they think is too small, too tedious, too ordinary, they run away and decide to become the “official captive” of a dragon. They then end up having to figure out how to defeat a wizard who’s trying to steal the dragons’ magic and poison them. And that’s just the first book — the rest of the series has more tricks and twists, surprising rescues, and dashing feats of heroism.

Did you notice that I used a gender-neutral pronoun throughout that description? That’s because the protagonist is a girl, Cimorene — and that fact alone puts parents off buying this book for their sons. Never mind the fact that this is, at heart, an adventure story. Parents frequently take one look at the cover, as I’m pressing this book I’m telling them is amazing into their hands, and dismiss it. “But isn’t this a girl book?” they ask me.

Y’all.

Your sons can read a book with a female protagonist. It won’t hurt them. I promise.

In fact, evidence suggests it’ll be really good for them. It’ll teach them to empathize with the girls and women in their lives. It’ll help them see that it’s not just boys who are the center of stories. It’ll help normalize female protagonists for them, so that female-led stories can stop being rarities for us to cling to and can instead be just stories, like male-led stories have always been.

So please, stop asking me, “But isn’t this a girl book?”, because I die a little inside every time you do.