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lady-plantagenet · 12 days
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It’s so rare that I really feel for a character in a 2 hour long movie like I felt for Detlev 😢
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<3
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lady-plantagenet · 2 months
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Two Headed Calf Comic Print // OrdinaryGhostArt
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lady-plantagenet · 1 year
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Isabel Neville - the outfit she wore to her wedding to George of Clarence. Calais, 1469.
I thought about this outfit for so long that I can’t believe I managed to draw it aaaa!!
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lady-plantagenet · 1 year
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The crisis continues in the York family!
It was a full week, but I managed to illustrate one of the ideas I had in mind for some time. This was supposed to be a four-page story, but…oh well… it got longer on the way!
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lady-plantagenet · 1 year
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Nothing to add except it’s bosh. Years ago, the same scientists said that he appears to have likely been blonde as a child. Most Europeans (including me) were born blonde and this is reflected in our DNA, doesn’t mean we stay blonde. His eye colour does not come as a surprise though. His portraits (and their colouring) are a more accurate indicator of adult colouring than genes in this case - note the ‘likely’ in the statement.
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these are not accurate?
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@lady-plantagenet anything to add?
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lady-plantagenet · 1 year
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lady-plantagenet · 1 year
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what is he listening to
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lady-plantagenet · 1 year
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duke of sweet wine (no
two Georges,I love them😫😫
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lady-plantagenet · 1 year
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Can I get a source for the contemporary gossip, re: Richard leaving court because of the Woodville animosity?
Thank you so much! Richard III has been most fascinating character. He has always remained engima to me. He is either thoroughly romanticised or heavily criticized. Some also genuinely believe that he was responsible for George death. Thanks for clearing that up as well.
You're welcome.
People do go to extremes when Richard III is concerned. Some of it are controversies and disputes around interpreting historical facts (like whether or not he took the throne legitimately, or what happened with the 'Princes in the Tower'), but some of it comes from people simply conflating fiction and myth with history.
This is a case with the idea that Richard was in any way responsible for his brother's George's death - an accusation that was only first made long, long after his death and that doesn't come from any of the contemporary or near conttemporay sources. (On the contrary, contemporary gossip was that Richard was against George's execution and that this was the reason for his animosity against the Woodvilles and why he stayed away from Edward's court after 1478.) Not even Henry VII's court historian Polydore Vergil made that accusation writing his history decades after Richard's death.
The myth took a life of its own and a bunch of unlikely things were added and piled up over the next century, getting their final form in Shakespeare's play. And that included weirdly reducing the role of Edward IV in the events of his own reign, and blaming his younger brother Richard for things Edward was clearly responsible for, such as George's execution.
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lady-plantagenet · 1 year
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Book cover, 1500s, Europe.
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lady-plantagenet · 1 year
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“This emphasis upon chivalry as an effective and positive social force stresses two important elements preceding Henry VII’s accession. Firstly, and essentially, if England was to recover from the problems created by the Wars of the Roses, there needed to be a resurgence of the chivalric ideals that were present in these texts. The death of chivalry, as reflected upon by Malory and Caxton, was not permanent; the key to its revival lay in the building upon existing cultural values that were easily accessible in these texts and held historical precedent.”
Hilary Jane Locke, Chivalry and Courtly Love: Cultural Shifts, Gender Relations, and Politics in early Tudor Court Culture (2019)
Secondly, as Caxton insinuated when he asked ‘How Many Knyghtes ben there now in Englond?’, the concept of chivalry which previously identified with men-at-arms and centred on the battlefield was no longer clearly relevant. The Wars of the Roses, as highlighted in Le Morte Darthur, had facilitated the rapid destruction of chivalric performance and practical chivalry in the heat of warfare. As a result of the rapid changes in warfare practice, the emphasis shifted towards heavily performative, material, and symbolic representations of chivalric culture; and they became the avenue of its resurgence. Following Henry Tudor’s seizure of the throne on the battlefield, his dynasty began responding to these ideas and practices, thereby securing dynastic stability and political strength through the employment of chivalric culture and values.
(via richmond-rex)
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lady-plantagenet · 1 year
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This never crossed my mind but omg! This is hands down Margaret. The eye colour is different from my hc, and what appears to be in the portrait, but it’s worth overlooking!
Facially speaking, I think Gillian Anderson would be quite a good fancast for Margaret Pole
Oh, I absolutely agree!
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I also think she would make an amazing Margaret Pole. What do you think @lady-plantagenet and @catalinamaria?
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lady-plantagenet · 1 year
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No…don’t ask. I’m not sure I know either.
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lady-plantagenet · 1 year
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@ardenrosegarden
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History of the conquest of England by the Normans
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lady-plantagenet · 1 year
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“Richard III’s ambition was to revive that old-fashioned style of chivalric kingship which was associated with England’s heyday. War, in his estimation, was not merely ennobling; it was the essential foundation for successful kingship. Yet by the late fifteenth century this particular conception of chivalric rule was beginning to look dated. Ideas of royal and aristocratic behaviour were changing. Nobility in the abstract, to which chivalry was related, was no longer identified principally with martial prowess and the performance of brave deeds. Increasingly its essence was found as lying in peaceful behaviour and service to the state.”
Nigel Saul, The Three Richards: Richard I, Richard II and Richard III (2005)
One of the key texts for the dissemination of this view was Christine de Pisan’s Livre du corps de politic a work in the ‘mirror for princes’ genre which drew extensively on Roman history. In the 1470s an English translation of this work was made by Anthony Woodville, Earl Rivers, Edward IV’s brother-in-law. Woodville, through the medium of his translation, promoted a view of the nobility as servants of the state. In particular, he urged the development of a professional civil service whose members, following the Roman example, 'had their hearts on the common weal’ and governed through order and reason.
Although these ideas were winning rapid acceptance among humanists and the Woodvilles and their circle at court, they apparently held little appeal to Richard III. Richard’s own tastes rested firmly with the older tradition of chivalry. He showed little, if any, understanding of the concept of a 'civil’ nobility engaged in service to the state. In his dealings with his retainers he stressed loyalty to his person, and not loyalty to the state. Loyaulte me lie ('loyalty binds me’) was his motto. But, as events at Bosworth were to show, these ideas were no longer sufficient to guarantee him support.
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lady-plantagenet · 1 year
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Starting Strong Scenes in Your Writing
Scenes are the fundamental building blocks of novels and short stories, and each one should propel a story toward the climax.
Generally speaking, your scene structure should mirror the story structure. In other words, take a novel-writing approach to a scene, crafting a beginning, middle, and end. Like a story, the beginning of a scene should have a strong entry hook that pulls the reader in.
Start with the setting. Often a new scene signifies a change in time and location. Establishing the setting at the top of a scene helps your readers get oriented. It also sets the tone and mood of what will unfold in the coming pages. A setting can serve as much more than a backdrop in literature. Have your scene take place somewhere that builds tension and hinders your protagonist. If you’re writing a thriller, describe a dark and foreboding place where the worst might happen. Be descriptive and use sensory details to make your setting come alive before you jump into the action.
Use visual imagery. In screenwriting, writers have to think in pictures. What images will excite an audience at the top of a scene? Your approach should be the same when writing any kind of fiction. As you write the opening of a scene, use descriptive language to engage a reader through detailed imagery. Think like a screenwriter as you’re writing scenes.
Drop the reader into the middle of the action. Hit the ground running by starting a great scene in media res. It doesn’t have to be a fight scene or a car chase, but physical movement creates momentum and builds tension in a story. It’s also a way to instantly engage a reader. Be sure you begin the scene before the high points of the action so you build up to the scene’s climax.
Write a character-driven scene opener. A good scene starts by giving characters a goal. Start by putting your protagonist in a situation that creates an obstacle or opportunity for both the scene and the overarching storyline. Try starting with dialogue, like an intense conversation between your POV character and a mystery character whose identity is revealed later in the scene. If you’re writing from an omniscient third-person point of view, consider starting a scene with a secondary character, even the antagonist, and use it as a chance for deeper character development.
Summarize past events. You might choose to use the beginning of the scene to do a quick recap of what’s brought your main character to this place and moment in time. A summary is especially helpful if you’re writing in third-person and a new scene switches to a different character. Take the opportunity to remind the reader where we left off. Instead of a straight-forward update, get creative. Go into deep POV and let a character’s thoughts provide the summary instead of the narrator. Be sure to keep this summary brief—just a line or two—so you can get back into the action.
Introduce a plot twist. The start of a new scene is a chance to pivot and take your story in a new direction. Start a new scene at a turning point in your story. Dive into a flashback or character’s backstory, revealing critical information that changes the course of the story going forward.
Keep the purpose of the scene in mind. Effective scenes are clear about what they set out to accomplish and how they contribute to the overall plot. They might include plot points or reveal important information needed to move a story forward. Establish your scene’s intention from the very first word and keep the rest of the scene on point.
Rewrite until you’ve found the perfect scene opening. When you’ve finished the first draft of a scene, go back and read it through. If your scene needs something, but you can’t figure out what, it might be how the scene starts. The best way to know if your opening works is by reading how it plays with the rest of the scene. Review the last paragraph and see if it ties back to your beginning. If the intro feels weak, rewrite it. Maybe your real opener is hidden in plain sight somewhere else in the body of the scene.
Make sure your opening scene is your strongest. While your entire book should be filled with compelling scenes that start strong, the very first scene of your book needs to lead the pack. This is the reader’s introduction to your story and where you’re revealing the characters, the setting, and kicking off the plotline with the inciting incident. This first scene has to hook the reader from the first line so they keep turning the pages.
Read a lot of books. If this is your first novel and you need some inspiration and ideas to help you start off your scenes, start by reading other books. Choose a book by a bestselling writer like Dan Brown or Margaret Atwood. Study the different ways they approach every scene. Reading other authors is a great way to hone your scene-writing skills.
Follow like and reblog if you find these helpful!
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lady-plantagenet · 2 years
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Hey there, been a bit of a while since your last post. You alright? 🤗 (An anon who cares a lot about their fave mutuals)
Hey love x . I’m perfectly fine - I was just very swamped with getting my histories ficathon submission written and settling into Cambridge for my Mphil. It’s all going wonderfully but definitely leaves me very little time to myself and posting ! Xxx
I’m also in a bit of a process of reframing my history which is making me hesitant to post much. Xxx
I really appreciate this anon honestly ;’)))) how lovely to know someone’s noticed my absence and that I’m one of someone’s fave mutuals ;’). Thank you and I’m fine x
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