Historical Research and World Building, By Kathryne Kennedy

It often surprises me how my historical research will add to or completely jell with the fantasy aspects of my novels. In THE ELVEN LORDS series, the stories are based in the eighteenth century, so I spent over a month researching the Georgian era, including the political environment, with special emphasis on daily life and--since my books are first and foremost romances--the clothing and housing of the aristocracy.

                       

When I read that white wigs were prevalent in the era, it made perfect sense that the true reasons for wearing the wigs were to imitate the ivory-haired elven lords of my fantasy world. All I needed to do was to add a crushed silver stone to the wigs, which the aristocracy uses to imitate the silver sparkle of my lords. For my readers to identify with the history of the era, I felt that it was important to keep a king on the throne, but since the elven broke through the barrier between worlds and conquered England, dividing it into seven sovereignties that each ruled, I couldn’t be sure of the role he would play.

Then I read that the true power behind the throne at that time lay with Sir Robert Walpole, the Prime Minister of England. So, with an apology to King George, I made him nothing more than a trophy for the elven lords to wage their wars--wars that used humans as chess pieces in games of entertainment similar to the Roman gladiatorial games, but on a much broader scale. Sir Robert (and following Prime Ministers) became the leaders of the Rebellion, the underground movement of humans and half-elven who fight for England’s freedom and the restoration of their king to true power. As with actual history, the court set the precedence for clothing and style, but since the king of my fantasy world held influence only in that limited aspect, it became an obsession with him and his court.

My seven mad elven lords each had possession of a scepter, and the master of a particular power. As I researched the landscape and the development of England’s resources, I used that knowledge to divide the sovereignties. Since Bath and its famous healing waters were located in the southwest, it fell naturally into place that the elven lord Breden, master of the blue scepter of sea and sky, controlled that area, becoming the sovereignty of Dewhame, revealed in the novel THE LADY OF THE STORM. South central England, where London is located, is a politically important part of England and became Firehame, the sovereignty of Lord Mor'ded and his black scepter over the mastery of fire, a powerful realm that is explored in THE FIRE LORD’S LOVER. Agricultural eastern England became Verdanthame, with Mi'cal ruling with the green scepter of forest and plant. Northeastern England, extending upward into York and known for its roadways, became the sovereignty of Terrahame, and the elven lady Annanor and her brown scepter of earth. North central England, dominated by mining and hilly country, became the sovereignty of Bladehame and the silver scepter of Lan'dor, who masters metal. The northwest became Stonehame, where the elven lady La'laylia called up quartz from the depths to enchant with her violet scepter. And the west became Dreamhame, butting up against the craggy mountains of Wales, the sovereignty of Roden of the golden scepter, with his spells of glamour and illusion, fully revealed in the novel THE LORD OF ILLUSION.

Arranged marriages were common in the era, often devised for political gain, and it fell naturally into place that the elven lords would use them to their own advantage. My hero in THE FIRE LORD’S LOVER, General Dominic Raikes, is a half-breed who has inherited his father’s magical gift of fire, and because of it, is a General of Firehame’s army. My heroine, Lady Cassandra Brydges, has the bloodlines to produce a new champion for the elven lord’s war games…and is secretly trained as an assassin by the Rebellion.

In my novelette, The ASSASSIN’S LOVER, we get a glimpse of the sovereignty of Stonehame, and the capital city that glows with jewel-fire even in starlight. We meet a lady of that city, Minerva Overon, whose home falls within the shadow of Stonehame Palace, which is crafted by the elven lady from one large piece of amethyst. But my heroine lives in one of the few mansions created of black jet, which aids the young assassin (another of history’s ruthless characters) sent to kill her…although he gets more than he bargained for.

And so did I, as I researched eighteen-century England, and found some surprising developments for my stories along the way.

My Magical Best,
Kathryne
http://www.KathryneKennedy.com 

Knowing When to Say Enough

I'll be the first to admit it—I'm a bit of a research junkie. I love knowledge. I love knowing things. So when I recently decided to start writing a new series of romances set during World War I, I basically started drooling. All those books. And I could buy them all.  Ahem, my husband says I cannot buy them all. Just the ones I need.

But how do you know what you need to know?

Some folks would have a general idea going into researching an era. This would be the, um, sane approach. Yet how do you know what you need to know? There are the obvious—clothes, landscape, house design and layout, transportation, and ranks of nobility.

And these are great starting places.

Yet, to bring the time period alive, you need the little details that remain elusive in facts. That's why I love diaries and books that include letters and personal accounts. For Ghost of a Chance, I had this one fact about buttons. Buttons. We take them for granted, but my poor Victorian heroine had to snip off the buttons of one skirt and sew it on another skirt/blouse to wear the next morning. Buttons. That one act said so much about how little money she had and her self respect.

So I'm constantly searching for those little details to add a realistic layer to my books—something so humanizing that I won't ever forget my characters.

Still I have a hard time deciding when I've researched enough. Which to be frank will probably never happen. I have 50 more books to go (hey, there's lots of books that are out of copywrite and are available for free—which is my kind of crack). I'm pretty sure, I'm pursuing a PhD in the World War I era, but I think it's safe for me to start writing the series.

Especially since I've started arguing with the books I've been reading about facts they've left out:D

Happy researching, er, writing. Yeah, writing.

Historical Research and World Building

It often surprises me how my historical research will add to or completely gel with the fantasy aspects of my novels. In my new series, The Elven Lords, the stories are based in the eighteenth century, so I spent over a month researching the Georgian era, including the political environment, with special emphasis on daily life and--since my books are first and foremost romances--the clothing and housing of the aristocracy.

When I read that white wigs were prevalent in the era, it made perfect sense that the true reasons for wearing the wigs were to imitate the ivory-haired elven lords of my fantasy world. All I needed to do was to add a crushed silver stone to the wigs, which the aristocracy uses to imitate the silver sparkle of my lords. For my readers to identify with the history of the era, I felt that it was important to keep a king on the throne, but since the elven broke through the barrier between worlds and conquered England, dividing it into seven sovereignties that each ruled, I couldn’t be sure of the role he would play. Then I read that the power behind the throne at that time truly lay with Sir Robert Walpole, the Prime Minister of England. So, with an apology to King George, I made him nothing more than a trophy for the elven lords to wage their wars—wars that used humans as chess pieces in games of entertainment similar to the Roman and Greek gladiatorial games, but on a much broader scale. Sir Robert became the leader of the Rebellion, the underground movement of humans and half-elven who fight for England’s freedom and the restoration of their king to true power. As with actual history, the court set the precedence for clothing and style, but since the king of my fantasy world held influence only in that limited aspect, it became an obsession with him and the court.

My seven mad elven lords each had possession of a scepter, and the master of a particular power. As I researched the landscape and the development of England’s resources, I used that knowledge to divide the sovereignties. Since Bath and it’s famous healing waters were located in the Southwest, it fell naturally into place that the elven lord Breden, master of the blue scepter of sea and sky, controlled that area, becoming the sovereignty of Dewhame, and this realm is explored fully in book two, The Lady of the Storm. South Central England, where London is located, is a politically important part of England and became Firehame, the sovereignty of Lord Mor'ded and his black scepter over the mastery of fire, a powerful realm that is fully revealed in book one, The Fire Lord’s Lover. Agricultural Eastern England became Verdanthame, with Mi'cal ruling with the green scepter of forest and plant. Northeastern England, extending upward into York and known for its roadways, became the sovereignty of Terrahame, and the elven lady Annanor and her brown scepter of earth. North Central England, dominated by mining and hilly country, became the sovereignty of Bladehame and the silver scepter of Lan'dor, who masters metal. The Northwest became Stonehame, where the elven lady La'laylia called up quartz from the depths to enchant with her violet scepter. And the West became Dreamhame, butting up against the craggy mountains of Wales, the sovereignty of Roden of the golden scepter, with his spells of glamour and illusion, a realm fully explored in book three, The Lord of Illusion.

As you can see, my historical research into eighteenth-century England helped me develop my world, sometimes in completely unexpected ways.

FOR WRITERS: How to Undress an Eighteenth Century Gentleman

I put together a simple cheat-sheet for writers about eighteenth century clothing, and I thought it might not only be a good guide for writers researching the era, but also a bit of fun for readers who love history (although you may want to note the changes I made because of the fantasy aspect of my world). So without further ado, here’s how you might go about undressing my hero, Giles Beaumont, from my upcoming release THE LADY OF THE STORM:

1. Shoes
First, let’s get Giles comfortable be removing his shoes or boots. Like the women, men wore heeled shoes similar to our modern day clogs where you slip your foot in, but mostly of black with large buckles. The toes started out square, and went round by 1740.
Pumps had low heels. I prefer my hero to wear boots, however, and many a military man wore them to a ball. I prefer the half jackboots, which ended below the knee in a turned-down top, made of leather. Heavy jackboots went above the knee, and light jackboots were cut in the back so a man could bend easier. Slippers were worn indoors, usually heelless leather.

2. Coat
Now we might want to remove Giles’s coat. The most common coat for a gentleman had no collar, a flared skirt-like pleated bottom, buttons and very wide buttonholes down the entire front and along the sleeves. The buttons could be made of gold, silver, brass, and other metals. The sleeves were wide and turned up into a large cuff, and short enough that the frills on his shirtsleeves peeked from beneath. The front had two large pockets about hip-high. The skirt of the coat was often stiffened with buckram (a stiff fabric) and whalebone so it flared out widely from the waist. The coat fell past the knees. It was usually only buttoned at the throat and/or waist, so the rest of the buttonholes were just for show.

The frock coat was first worn by the lower class, having a less rigid and more comfortable cut. The gentlemen then adopted the coat for sports, riding & casual dress. The frock coat had a collar and sometimes, a slit in the sleeves. But otherwise, it looked similar to the coat described above.

As always, the difference between a gentleman’s dress and the lower classes was in the material. Silk, satin, damask, gold & silver stuff, etc. for gentlemen; ticking, rough wool & leather for the lower class. And I should also note here that a gentleman’s wardrobe was lined.

3. Waistcoat
You will then be able to remove Giles’s waistcoat, and it looked very similar to the coat, with buttons down the front and a large pocket on each side. But the long sleeves and the back were often made of a thinner, cheaper material, since it didn’t show. And it was shorter than the outer coat, around mid-thigh. Waistcoats could also be laced up instead of buttoned, have decorative lining around the hem made of embroidery, lace or fringe. In THE LADY OF THE STORM, Giles prefers buttons, since they are easier to remove, and less fussy.

4. Breeches
Depending on your mood, you might want to remove Giles’s breeches next, which could be made of the same material as coats, but didn’t have to match. Start by unbuttoning the waistband’s three buttons (set close together), and about three more buttons below that to fully open the front. Breeches only went to just below the knees, so then you need to undo the knee buckles. During the first quarter of the century, stockings were pulled up over the knees of the breeches and rolled back down below them over garters (woven silk, ribbon, braid). But soon the breeches were buckled over the stockings below the knees. Giles prefers this method, so after you unbuckle his breeches, you may then remove:

5. Stockings
The stockings were generally white and made of cotton or silk. You could certainly use different/contrasting colors for a dandy.

6. Drawers
In THE LADY OF THE STORM, Giles Beaumont doesn’t often wear them (I have found no evidence that drawers were always worn), but if he happens to have them on, they have to be untied at the waist and knees, and were generally made of linen.

7. Neckcloth or Cravat
Untie the cloth from under his chin, where the ends were left to fall to about his upper mid-chest, then slowly ease it off from around his neck. Made of muslin, lawn or linen, the ends were decorated with lace or tasseled. Commoners may wear a handkerchief knotted about the neck. There was other neckwear, including a stock and solitaire.

8. Shirt
And finally, gratefully, you can unbutton Giles’s shirt. Ruffles at the front and sleeves, often edged in lace. The ruffles at the neck were often referred to as a jabot, when the cambric or lace edging was sewn to both opening sides. For commoner or casual wear: plain sleeves with a narrow band, which is usually what Giles wears. Generally made of fine white cotton or linen material, referred to as cambric. You could distinguish a gentleman by how clean his shirt was.

9. Other:
Men usually had short, close-cropped hair, because they wore a white wig, longer at the beginning of the century, and of varying styles throughout. Wigs could be several colors, but were often powdered white. Real hair could be dressed to resemble a wig, and hair was worn long if you didn’t have one (artisans & commoners). However, black wigs were often worn by the military. Some had long and short curls all over, curls just at the sides, braided down the back, tied back in a queue. Wigs could me made of human hair, horse or goat hair, and feathers. There was such a variety of wigs that an author can surely use her imagination with them! In THE LADY OF THE STORM the men wear wigs to imitate the elven lords’ lustrous long white hair, and use silver glitter to try to copy the sparkle. Since Giles has the original, he does not wear a wig, but will often wear battle braids at the sides.

The cocked, or three-cornered hat, usually made of black beaver felt, was worn indoors under the arm. It was often quite large, and could be decorated with ribbon, feathers, lace, etc. Men often wore nightcaps to keep their shaved heads warm, but the elven lords had a full head of hair to keep them comfy at night. In THE LADY OF THE STORM, Giles wears his hat outdoors, but carries it under his arm the rest of the time, and he certainly never decorates it.

Giles Beaumont dresses simply, but when at court, he might also carry or wear: leather gloves, a sword (the hilt protruded through a side vent of the coat—Giles always wears his enchanted sword, although fancier swords were worn at court), and after 1730, a cane as well. Pocket watches, a snuff or toothpick box, a lace-edged handkerchief.

For outerwear: open cloaks fastened at the neck & Greatcoats (a big frock coat with back vent for riding). Military men preferred the cloak, as did spies, and Giles was no exception.

References: Costume in Context/The Eighteenth Century by Jennifer Ruby ISBN 071345772, A History of Fashion in Costume/The Eighteenth Century by Anne Rooney 0816059489, Daily Life in Eighteenth Century England by Kirstin Olsen 0313299331, Handbook of English Costume in the 18th Century by C. Willett and Phillis Cunnington 0823801284.

FOR WRITERS: How to Undress an Eighteenth Century Lady

I put together a simple cheat-sheet for writers about eighteenth century clothing, and I thought it might not only be a good guide for writers researching the era, but also a bit of fun for your readers who love history (although you may want to note the changes I made because of the fantasy aspect of my world). So without further ado, here’s how my hero, Giles Beaumont, might go about undressing my heroine, Lady Cecily Sutton, from my upcoming release, THE LADY OF THE STORM:

1. Gown

First, Giles might wish to remove Cecily’s gown, and this can consist of:

A mantua, which is a formal dress worn at court, and is similar to a huge robe wrapped in front, held together with a girdle (belt). A decorated stomacher (more about this below) will often show through the opening of the top.

A sacque dress, which is unfitted both front and back (not drawn in at the waist) and the back has pleated material that falls from the shoulders all the way to the floor. Again, a stomacher will show through the open-to-the-waist neckline.

The skirt bottom of either of the above dresses can be opened or closed, which means it can be split to show a different or matching colored petticoat beneath. The petticoat will be as elaborate as the skirt itself in material and construction.

A day dress, consisting of a bodice (top) and skirt. This was considered ‘undress’ wear by the wealthy, and adopted by the workingwoman for practical reasons. The dress had elbow length sleeves, a fitted shape for the bodice, and depending on the lady, could be made of several types of material. Linsey-woolsey as the cheapest, progressing to satin, silk or velvet for the most expensive. The jacket bodice was usually held in place with lacing or hook-and-eye closure down the front. The skirt, like the petticoat, was tied on by a drawstring, either behind or a tie at each side, and was closed (no split).

The riding habit was also two pieces: a skirt, worn with a coat similar to a man’s but darted along the sides, with a buttoned waistcoat beneath. Also to simulate the man’s dress, a cravat could be worn around the neck and a tricorne hat on the head. Although hoops were often worn under the skirt, I use a quilted petticoat to keep mounting and riding simple.

2. Stays

Now Giles may tackle her stays, which is a boned support wrap that is tightly laced in the back, which flattens the bosom and pushes it upward. Often tied to the front of the stays is the stomacher, another boned piece of cloth with a ‘v’ at the bottom, which can be heavily embroidered and decorated for show. The stomacher is also often attached to the bodice itself, instead of the stays, usually sewn in place. Cecily finds it simpler to wear a stomacher that is attached to the stays. There is also evidence that workingwomen wore stays that released by ties in the front as well, which makes sense to me, as they didn’t have maids to unlace their backs, which were tied in a sort of criss-cross fashion, which took determination to remove. Another interesting note about stays is that they weren’t what we consider underwear. They were often worn without any covering while women worked, and often peeked through the open front of a gown, especially if they were elaborately embroidered or decorated. As the centuries progressed, and stays became known as the corset, they then became primarily underclothing. Because of consistency throughout the ages, I don’t use this fact in my books, and stick with the chemise as our modern idea of historical underclothing.

3. Petticoat

Then Giles must untie the hoop-petticoat, via a drawstring about the waist. A hoop was a petticoat reinforced with (usually) whalebone, in circular layers from top to bottom, which held out a lady’s skirt. Several types of hoops were worn during the Georgian era, but in general, they started out in a round dome shape, then graduated to a ‘fan’, where the front and back of the top of the hoop was flattened, pushing out the hoops to the sides. The oblong hoop extended the distance to the sides, creating the extravagant shape worn by Marie Antoinette. These were also called ‘elbow hoops’, since some were high enough that a lady could actually rest her elbows on them. In lieu of hoops, usually for workingwomen, a lady could wear a quilted petticoat to help shape her dress. A fancy (unboned) petticoat could be worn over the supporting hoop-petticoat, specifically when the lady wore an open skirt. Other types of support were also worn, like false hips and cork rumps, but this is for the writer, not the historian, and I try to keep it simple. (Also, the skirt of a dress was commonly referred to as a petticoat, but this can be confusing to the modern reader (and me!), so I stick with the separate terms.)

4. Chemise

Finally, Giles can remove her chemise, a thin shift which reached to about the knees. A rich woman’s chemise could be made of fine linen, elaborately embroidered or laced, especially about the sleeves, where it often peeked out from under the gown’s sleeves. The neckline was sometimes loosened by a string that gathered it closed.

5. Shoes

If she hasn’t already, Lady Cecily can kick off her shoes at this point, which resemble our modern-day clogs, where you slip your foot in. Often made of material to match her skirts, they had heels and were usually buckled or tied over the toes. She could also wear slippers, and a workingwoman might wear thick leather ones. Boots were often worn for riding.

6. Stockings

Stockings were usually white or black, held up at the top by a ribbon (garter) tied just above the knees. Usually cotton, the middle class might wear worsted, a rich lady would wear silk.

7. Drawers

I can find no evidence that a Georgian lady wore any form of what we consider panties. Which is fabulous news for Giles Beaumont, who can skip all the above and just lift her skirts when passion overwhelms him.

8. Miscellaneous

Lady Cecily might also carry/wear:

A tucker (scarf) could be tucked into the top of the bodice of any dress for modesty’s sake. Hair was usually worn in a bun at the top in the back of the head, curls or waves of hair to frame the face. Ladies began to wear white wigs like the gentlemen, which later in the century grew to extreme heights, and were often decorated with feathers, jewels, birds, tiny hats, etc., especially for formal occasions or at court. In THE LADY OF THE STORM, the men wear wigs to imitate the elven lords’ lustrous long white hair, and use silver glitter to try to copy the sparkle. Since Giles has the original, he does not wear a wig, but will often wear battle braids at the sides.

Mobcaps were worn on the head indoors, a cap gathered in the front with ruffles at the sides, and often under hats, which varied from imitations of the men’s three cornered hat to straw hats. Pinners were worn as formal dress, caps usually made of lace, flat on the top of the head, with trailing ‘lappets’ down the sides (of the same material) that hung well past the shoulders.

Cecily may also carry/wear a drawstring purse, lace handkerchief, fan, muff, parasol, apron, umbrella and gloves (gloves were almost always worn). Aprons were not always used for practical purposes, but as an accessory to the dress, of sheer material embroidered or edged with lace.

For outerwear, she could wear a mantle, which is a long hooded cloak, often with a riding hood attached, a ‘caped hood’. A mantlet, which is a short cape. A scarf, wrapped around the shoulders. Again, the cloth varied based on wealth, but most were made of wool. Trim could be excessive, from fur to embroidery to gold piping.

This is a basic cheat-sheet for writers, and I kept simplicity in mind when putting this together. I used several references, but the primary ones are: Costume in Context/The Eighteenth Century by Jennifer Ruby ISBN 071345772, A History of Fashion in Costume/The Eighteenth Century by Anne Rooney 0816059489, Daily Life in Eighteenth Century England by Kirstin Olsen 0313299331, Handbook of English Costume in the 18^th Century by C. Willett and Phillis Cunnington 0823801284.

Destination Truth: Researching the Historical Romance Novel

One of my favorite shows on TV is SyFy channel’s Destination Truth with Joshua Gates. If you’re unfamiliar with the show, it’s about a guy who travels to all sorts of exotic locations to find out the truth about monsters reportedly living there. The host, Josh Gates, is tall and adorable…brave almost to the point of insanity…has a wicked sense of humor…perfect hero material…sorry, got distracted. Anyway, Josh never seems to uncover proof of the actual monster (I’ll keep rooting for him), but his journeys are amazing, and he always discovers all kinds of other, interesting things (like a headless chicken corpse with human feet, an enormous unidentified footprint, ghostly images, disembodied voices and even scarier mundane things. Like quicksand. Alligators. Poisonous snakes…). Shivering aside, what does Destination Truth have to do with researching a historical romance novel?

The similarities are mind-boggling.

So let’s start by comparing an episode of Destination Truth with one of my historical research topics. Let’s say, Josh’s search for evidence of the Yeti with my search for historical…panties. (Trust me, it’s going to be tougher than it sounds. Victorian underwear wasn’t too difficult, but when I began researching Georgian underwear for THE ELVEN LORDS series, it had me tearing my hair out.)

Destination Truth: Search for the elusive yeti/panty

Rumors of the Yeti have reached Josh at his headquarters. A huge ape-like creature similar to the Sasquatch, living somewhere in the Himalayas. Josh packs up his crew and travels thousands of miles to the Far East. The search is on.

Rumors of corsets, stays, and chemises reach the author. But what of panties? This information is critical to the author for her love scenes. Author props up her feet next to her computer and brings up the Google screen. The search is on.

Josh interviews people, looking for reliable witnesses who have seen the Yeti, in order to determine the best place to set up an investigation. He hikes through a valley where sightings have occurred, but finds nothing more exciting than a grazing cow.

Author types in ‘Georgian Underwear’, scanning through the results, looking for reliable websites. The first one looks promising, but on further investigation author comes up empty-handed. The rest of the sites aren’t even related to author’s search.

Josh continues his search, and gets lucky. Some evidence is found of the creature, but Josh can’t determine if it’s genuine. They are frustrated in their attempts to acquire some evidence for testing from the artifact. They are told that because others believe it to be genuine, so must they.

Author expands her search to ‘Georgian Clothing’ and gets lucky. Results have turned up some reputable websites, but further investigation only leads her from one link to another, frustrating the author. She’s tempted by the Wikipedia result, but is aware that the general populace updates the site’s information.

After four days of hiking with nary a Yeti in sight, Josh and his team split up, and start hunting in earnest.

After Googling several combinations of word searches with nary a panty in sight, author decides to branch out her search to the library and bookstore.

The journey through the Himilayas is arduous but amazing, and the hunt reveals fascinating plant and animal life, with exciting discoveries and perilous adventures.

The journey through the library is arduous but amazing, with hundreds of books on Georgian costume to pour through, revealing discoveries of clocked stockings and brocade waistcoats. Although most of the books at the bookstore deal with general English social history, the author lives new adventures through historical biographies. But no mention of panties. Author goes to Amazon and searches for out-of-print books that may have an answer…and is overjoyed! She orders the Handbook of English Costume in the Eighteenth Century, a detailed look at clothing.

One of Josh’s sherpa guides finds an enormous footprint! Josh is overjoyed! His team spreads out, looking for more evidence, but unfortunately, find none. They take a plaster cast of the print and bring it back to headquarters amid much acclaim.

Author receives her Amazon order. She removes a book from the wrapping titled, Handbook of English Costume in the Seventeenth Century. They sent her the wrong book! But after searching through it, author finds no reference to panties anyway.

Josh brings the plaster castings to a professional for examination. It is estimated that a 300-400 pound creature made the prints. They are ruled out as a hoax and are called a ‘significant discovery’. Is this definitive proof of the Yeti, then? Alas, it seems to be unclear.

Author has garnered enough information by now to deduce that panties were ‘most likely’ not worn prior to the drawers of the Victorian era, but alas, she lacks definitive proof. Indeed, historians seem unclear as well, for if panties were worn, no clear evidence of them remains.


Until Next Time,
Kathryne