Tag Archives: victoria hawking

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Early development for Mrs. Hawking 3

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Categories: base instruments, development, looking ahead, themes, Tags: , , , , , , , ,

I won’t be able to truly tackle this for a while yet, as I have other projects that are currently more pressing, but I do have a fair bit of preliminary work done on creating the third installment in the Mrs. Hawking story. As I’ve mentioned in earlier entries, it will deal primarily with the three following themes:

– Mary’s establishment of what kind of protégé she truly wants to be.

– A hinting at Mrs. Hawking’s fear of her eventual decline into old age.

– The reaction of Nathaniel’s family

I’ve talked a great deal about the first two themes in this space. The third will be dealing with the first time Nathaniel’s involvement in Mrs. Hawking’s work (and his growing feminism, in sharp contrast to the common values of the day) is scrutinized by the by and large conventional members of his family. I’d like to have his brother Justin show up, to demonstrate a clashing ideology, and have his wife Clara actually be informed of what’s really going on and have to respond to it. I want to explore how Nathaniel will handle experiencing the threat of disapproval for basically the first time in his life, and realizing just how much at odds his new worldview is with the rest of society.

The case they shall be working in the course of this episode will be brought to them by a ballet dancer, in order to introduce the ballet motif that will expose Mrs. Hawking’s inner struggle. I haven’t figured out exactly what the problem will be, but it occurs to me that we’ve yet to see Mrs. Hawking deal with a true mystery. The problems in the first and second installments were entirely known quantities— return a stolen child, capture a miscreant hiding behind diplomatic immunity. I’d like to show her actually having to figure out what happened based on the gathering of clues and applying deductive reasoning. I enjoy mysteries a great deal, as the need to seek out more information is a compelling way to pace things, and I love the way it allows stories to unfold.

I struggle a great deal with titles; though I’m pretty happy with “Mrs. Hawking” and “Vivat Regina,” I rarely think I’ve come up with good ones. But I have an idea, at least, of what I’d like to call this third story. I’m leaning towards either “Base Instruments,” regarding to the imperfections of those people who struggle to deliver grand results, or “The Burden of Regard,” in reference to the weight placed on people from whom important things are expected. The first two have a quality of irony about them, which I would like to maintain in this third title if possible. Opinions on what works better are of course welcome.

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The ballet metaphor

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Categories: base instruments, development, looking ahead, themes, Tags: , , , ,

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I’ve always been fascinated by the art of ballet. First of all, I just find it beautiful, a pure pleasure to watch. But from an intellectual standpoint I’m enthralled by the contradictions. It is viewed as a very delicate, refined art, coded feminine in most modern people’s eyes. But those who practice it at the highest levels is run like an army with just as much discipline. The dancers look frail and delicate, but they have to be unimaginably fit and strong, not to mention able to endure an enormous amount of pain. The dance is so demanding that careers tends to be very short, as many ballet dancers end up physically destroyed by the effort. The image of the broken down ballerina— whose tragedy is that she can no longer practice what she has sacrificed everything to be able to do —is one I return to again and again in my writing.

I find this could make for a perfect parallel to Mrs. Hawking. I want the next story to include a ballerina who is facing inevitable breakdown in order to use her as a metaphor for everything Mrs. Hawking fears. Her work, which involves so much physical punishment, will eventually wear her body down, and age will at some point make it so she can no longer continue. The ballerina character will speak to this part of her, and cause her to ponder how she will eventually address this.

This could tie nicely into the protégé conflict, where she will be trying to mold Mary into a new version of herself. Her fear of her not being able to do her work anymore will motivate her to make Mary into someone she feels like she can trust to properly carry things on— literally, another her. We will see that things won’t exactly go her way on that score, but Mary will in time prove capable of taking up the mantle, if not exactly in the manner Mrs. Hawking initially hopes.

The staged reading of Base Instruments by Phoebe Roberts will go up on June 10th at 8PM at with the Bare Bones reading series, brought to you by Theatre@First.

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Sparking a romance

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Categories: character, development, themes, vivat regina, Tags: , , , , , , ,

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As you may have gleaned from reading Vivat Regina, I want to explore the idea of a relationship between Mary and Arthur Swann, the police officer she meets (and makes use of) in that play. All I wanted to do in that story was start a connection, but that meant I had to take care to get it off on the right foot.

I like the idea that romances begin because of something special that two people see in each other. Mary of course demonstrates she is brave and tough and quick-witted in a way Arthur didn’t expect, but Arthur shows he finds the fact that Mary saved him intriguing. He is not threatened by Mary’s capability, but impressed by and delighted with it. That immediate respect he shows makes an impression on her. Moreover, he’s not without wit and charm himself. These things altogether spark something that ultimately turns to romance.

I had Mary save Arthur to deliberately turn that damsel in distress trope on its head. Also I wanted to contrast it with the first meeting of Victoria and Reginald as the Colonel describes it in “Like a Loss.” Both men are impressed by the women’s display of courage and independence. But while Arthur wants to encourage and enable her to take her own action, Reginald’s impulse is to cocoon her protectively so that she doesn’t ever have to be brave or fierce or stand up for herself again. Arthur wants to nurture Mary’s strength, while Reginald wanted to neutralize it in Victoria. This makes for an interesting way to explore the effects of feminism, or the lack thereof, in our characters’ lives.

I haven’t figured out the whole trajectory of Mary and Arthur’s relationship, but I think it’s off to an interesting start. Especially in contrast to Mrs. Hawking and the Colonel.

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Notes on Vivat Regina: character arcs

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Categories: character, development, themes, vivat regina, Tags: , , , , , , ,

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Warning: spoilers contained herein for the new script “Vivat Regina.”

I’ve talked a fair bit in this space about my intentions for the character arcs in this piece– chiefly, that I wanted Mrs. Hawking to decide that she will make Mary her protege, and that Nathaniel is going to come into his own way of being of help to our heroes.

Originally I thought I would tackle much more of the protege storyline in this second piece. I thought we’d cover how Mrs. Hawking would make Mary her protege, her trying to mold Mary into another version of herself, and finally Mary’s pushback against the idea when she realized she wanted to follow Mrs. Hawking under her own terms. This storyline is to be the meat of the first arc-cycle in the story. In the very earliest experimental drafting done back during 31 Plays in 31 Days of August ’13, the declaration of her being designated protege was to happen in the very second scene. But Bernie rightly pointed out that would be moving far too quickly through a story that would be more properly explored over a longer period. So it was scaled back to watch Mary feel like she was struggling and an inadequate assistant to Mrs. Hawking because of her mistress’s harsh standards and constant criticism, but to have the turning point be when Mrs. Hawking reveals that not only is she doing well, but that she’s decided Mary is worthy to be successor of all her work.

Nathaniel’s arc I figured out almost immediately. I knew I wanted him, after he learned of Mrs. Hawking’s activities and got over the initial shock, to be incredibly fascinated by her work and want to help her with it. She of course would be resistant, since she despises how much he’s like the Colonel and how she’s come to see him as an impediment to what she wants to do rather than a support. But as I’ve mentioned, Nathaniel’s challenge is to grow past the ways he’s too much like the Colonel, and this story is the beginning of his realizing it.

You’ll also note the nature of the role Nathaniel takes on once he discovers what talent he has to contribute. With his ability to go places only men can access, his enormous personal charm, and his real capacity for thinking on his feet, he basically takes on the job of faceman. I like how this not only because it really suits his character, but also how it places him in what is often a feminine role. Contrast this to the traditionally male-filled positions of the mastermind and the bruiser, who in this case are Mrs. Hawking and Mary respectively. I plan to have him take on “traditionally female” story roles in a number of ways, as I very much enjoy casting traditionally masculine men that way in my writing.

Mrs. Hawking’s arc is the most subtle of three of them. That is for the most part intentional, as one of the issues I want to set up for her in the long term is that because of her long-held anger and baggage, personal growth is difficult and very slow. So hers occurs mostly in relation to the growth of the other leads. She relaxes her harsh criticism of Mary, she lets Nathaniel be judged on his own merits. The most important character note for her in this piece is I wanted to be certain that I firmly established her as a kind of revolutionary. We knew she was immensely critical of the social order, but I don’t know how much hard evidence we saw of it in the first story. I think her indictment of the English imperial system casts it in the right light. It is always tempting when writing in a steampunk setting to let one’s fascination with the picturesque time period to gloss over the horrific implications of the imperial system. I want Mrs. Hawking to acknowledge and stand in opposition to those things in a real way. She will not work on behalf of “queen and country” because that means supporting oppression and devastation, but she will stand up for one real woman who is suffering under it. She is of course prejudiced and limited in her own ways, but she will always be opposed to the Establishment, and I wanted her to demonstrate an awareness of what that really meant.

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A female power fantasy

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Categories: character, development, influences, vivat regina, Tags: , , , , ,

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In the interest of artistic honesty, I feel I have to cop to the fact that in some ways, the character of Mrs. Hawking is a power fantasy. Specifically, she is a personal one for me, embodying many of the qualities that I happen to find particularly empowering.

She is a physically small person, but rather than be limited by it, it so fit and strong that she is a force to be reckoned with, and in fact uses her size to her advantage by being fast, graceful, sneaky, stealthy, and able to fit into unexpected places while avoiding notice. I am a small person often frustrated by its limitations. She has a lot of anger, but she gets to use to fuel her in her crusade. I am an angry person whose anger gets her into trouble. She’s asexual, free from influence by sexual interest or from the need to be sexually desirable to anyone. I’m not asexual, but sometimes I wish I were free from those things. She’s a loner, an introvert in the extreme, who feels no compunction about withdrawing whenever she needs to. I’m an introvert too, but I often feel like I’m not able to take the time to myself that I need. It even shows up in smaller ways. She bears a physical resemblance to my friend and frequent collaborator Frances Kimpel, who I often wish I looked more like. She has a background in ballet, something I find incredibly cool. All these things are a chance to make the kind of person I think would be powerful enough to be this kind of hero.

I’m not troubled by this. I think there should be characters that serve as power fantasies for women of the sort that men have in abundance. Batman comes to mind as an example, as he is rich, exalted, hyper-competent hero that is often considered to be above all comparisons, and incidentally happens to be a major inspiration for Mrs. Hawking. The trouble, however, is in not allowing such a character to fall into the category of Mary Sue. The problem with power fantasy characters is that if you make them TOO powerful, TOO aspirational and awesome and amazing in every way, then they stop being believable or real. So I need to make sure that when I write Mrs. Hawking, she has real flaws to her to make her a truly complex main character.

I wanted those flaws to grow organically out of her personality, so I used the flip side of the things that were powerful about her. “Your strengths are your weaknesses,” after all. Her anger issues mean she can be really nasty when she wants to be. Her loner nature makes her reluctant to accept help, to get close to people, and she has little ability when it comes to normal social interaction. Her pride makes it hard for change and grow when she’s been wrong. She is not a flawless crime-solving machine when she screws herself up this way. Despite her forward-thinking attitudes, she’s racist in the manner of her time, and sexist in a manner all her own. And she’s a damn pain in the ass to deal with a big chunk of the time.

I want those flaws to matter. Actions have consequences, and when you act like as much of a dick as she often does, it’s going to come back and bite you. I always hate in when main characters in her extremely intelligent, lone-wolf mold such as the BBC’s Sherlock Holmes or Dr. Gregory House are enormous assholes, but everyone around them seems to excuse their awfulness and the story lets them get away with everything because they’re so damn special. I’m specifically fighting that in my portrayal of Mrs. Hawking. She’s very special, but she’s also very awful, and I want both to have an equal impact on how people treat her.

It’s actually one of the reasons I wanted to introduce Clara Hawking. I wanted her so badly to be in Vivat Regina so she could function as someone who hasn’t “drunk the Mrs. Hawking Kool-Aid,” so to speak, to stand in contrast to the many characters who are in awe of her. Despite their occasion defiance and criticism of her, Mary and Nathaniel basically adore her. I’m always having to be careful to not write too much about people talking about how remarkable she is, because that would be unbearable and stupid. But Clara is someone who genuinely doesn’t think her virtues makes up for her flaws and holds them seriously against her. I hope to keep that element in the story from every quarter as would be realistic. Consequence-free behavior is anathema to dramatic, emotionally honest storytelling in my opinion.

I do believe it is possible to have a figure who counts as a power fantasy who is also believably human and imperfect. But it requires careful balancing. I hope I’m up to the challenge, and I plan on making every effort to succeed in that with this character.

I like her a lot, after all, and I want you to be able to as well. ;-)

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“Practicing” — scribbling about honing the craft

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Categories: development, influences, scenes, Tags: , , , ,

I’ve mentioned that a major influence on the character of Mrs. Hawking is Batman. Mostly this manifests in her internal workings– the way she runs on anger, taking an eternal vengeance for the way the world crushes women. But it also inspires how I imagine she works.

I’ve always thought that the diegetic reason for why Batman is so good at everything he does is that in the time normal people screw around on the Internet and read books and have human relationships, he is studying and training and honing himself into the ultimate weapon against crime. I decided Mrs. Hawking works much the same way, as her work is the most important thing in her life, and she doesn’t see the value so much in doing things for pleasure or having connections to other people.

I think it would add a lot of texture and interest to the stories to demonstrate how almost all her free time is spent in studying and training. The following scribble is short and very rough, but it shows a little of the sort of thing I’m imagining for this. I also like the idea of keeping it a little playful, as I’m always on the lookout for places to add humor and humanity to lighten up the narrative.

Also it was somewhat inspired by the fabulous Zoe Keating song “Escape Artist,” whose cello sounds like how I would represent Mrs. Hawking musically.

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~~~

“Practicing”
by Phoebe Roberts

MRS. HAWKING, lady’s society avenger
NATHANIEL HAWKING, her gentleman nephew
~~~

(MRS. HAWKING is tied to a chair, her legs roped to its legs and hands in cuffs bound to the back. She is dressed only in her underclothes, corset, shift, and drawers, and her hair is in a braid.)

(She jerks her head to flip her braid over her shoulder. With her teeth she takes hold of a pin tucked into the braid and pulls it out. She considers a moment, then drops the pin on the seat of the chair beside her. She maneuvers herself to move her bound hands to grab it, then busily works it in the lock of her manacles. In a moment she has them undone.)

(She slips out of the cuffs and shakes them off. As she bends down to untie the ropes on her legs, enter a figure in shadow, running in towards her. She immediately rolls forward, the chair still attached to her ankles. She slams the chair down between her and the man approaching, stopping him dead in his tracks. As he cries out, we see the man is NATHANIEL.)

NATHANIEL: Good God!

MRS. HAWKING: Here already? I must be getting slow.

NATHANIEL: What are you– wait a tick, where are your clothes!?

(He turns away awkwardly.)

MRS. HAWKING: I’m practicing. Captors don’t always make it easy for you. Must keep in training, you know.

NATHANIEL: But madam–!

MRS. HAWKING: This is rather a children’s game, at any rate. Even though I chose to pretend I’d not been left my corset.

NATHANIEL: Thank Heaven you only chose to pretend!

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“Protege” — first draft of scene 1.2 of Vivat Regina

Categories: development, scenes, vivat regina, Tags: , ,

This is the first draft of scene 1.2 of Vivat Regina, originally written on August 12th of 2013. I’ve mentioned that I was originally planning on having the central struggle for Mary being her deciding that she could only take on the future of Mrs. Hawking’s work under her own terms. Because of this, having it declared early that Mrs. Hawking meant to groom her in this way made sense.

But my boyfriend Bernie pointed out that this story required a slower exploration in order to do it justice, and I ended up scrapping this to deal instead with Mary’s fear that she was not up to the challenge. This meant that Mrs. Hawking’s reveal of her intention to pass the torch had to be a revelation to come later.

Some of these scene still exists in the final version of 1.2. Other pieces were included in 2.3, the scene to which the protege reveal occurs. This is a great example of scene work where it doesn’t work in its original conception, but can be repurposed later to better serve the story.

~~~

Day #12 – “Protege”

(MRS. HAWKING is in the parlor in his stealth suit, removing it piece by piece. MARY rushes back in through the front with her wrap and hat over her dress, exhilarated.)

MARY: Oh, that was extraordinary!

MRS. HAWKING: A task adequately managed, indeed.

MARY: I did it, I worked it all out, you saw it yourself!

MRS. HAWKING: Eventually. With some guidance.

MARY: Still, I did manage!

MRS. HAWKING: You did at that.

MARY: And yes, with your guidance. Everything you’ve wanted to teach me, I’ve worked very hard to learn.

MRS. HAWKING: Yes. Yes, you have.

MARY: You have seen it, madam, haven’t you?

MRS. HAWKING: You’ve been a diligent student. In fact… you’ve been an excellent one. Better than I dared hope.

(MARY beams at her. Then she begins taking off her wrap, her hat, and her gloves. MRS. HAWKING becomes contemplative, and after a moment MARY notices.)

MARY: Are you all right?

MRS. HAWKING: It’s only… it makes me think. I’ve been at this work for half my life now, and before you, I’d always done it alone. I thought that when it came time that I could not keep on with it any longer… that would be the end of it. All my efforts would die with me. But since you’ve come along, you’ve learned. You’ve risen to every challenge that’s come your way. I would never have guessed what help you would be to me.

MARY: Oh, madam. Do you mean that?

MRS. HAWKING: I do.

MARY: I’m sure I’m not the assistant you would have imagined.

MRS. HAWKING: Perhaps not. And yet I see now that I have in you a protégé, on your way to becoming a true partner. And one day, you’ll carry it all on in my stead.

MARY: Mrs. Hawking… I don’t know what to say.

MRS. HAWKING: Is that a path that you could see for yourself?

MARY: After everything you’ve shown me… it’s the only path I can see. Thank you.

MRS. HAWKING: No need. I can rest easy in the future of my life’s work.

(She turns away, pleased, and begins to gather up her things. MARY watches her, charmed.)

MARY: Why, Mrs. Hawking?

MRS. HAWKING: Yes?

MARY: I do believe you’re smiling.

(MRS. HAWKING frowns hard.)

MRS. HAWKING: I beg your pardon?

MARY: You never smile.

MRS. HAWKING: Certainly not. I don’t know what you’re on about, Miss Stone.

(She gathers her things in an armful and strides from the room. MARY watches her, and glows.)

8/12/13

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“The Difference Between Us” — scribbling on Misses Stanton and Danvers

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Categories: character, gilded cages, looking ahead, scenes, Tags: , , ,

The piece I wrote the day before this one was about a future supervillain of Mrs. Hawking’s, a woman who was her friend growing up in the Asian colonies, who is as smart as she is but choose to manipulate the system rather than fight against it. The piece I wrote for August 27th during 31 Plays in 31 Days 2013 shows them back when they were young Victoria Stanton and Elizabeth Danvers, before they were married and became Mrs. Hawking and Mrs. Frost. I think I will reproduce an awesome comment here by a friend named Kat Davis, because she perfectly summed up exactly what I was going for:

“…Mrs. Hawking up against someone who can meet her on even footing. Seeing her actually sort of lose her cool and lose that sort of detached mentor-ish tone she always has with Mary (and, to a slightly lesser extent, the nephew), is refreshing. I like that Frost gets her worked up, gets inside her guard and gets to her in a way we really never have seen anything else do. I especially like that Frost sort of clucks her tongue and shakes her head and looks down on Hawking, who is always so aloof and above it all. There’s condescension and even, or at least how it reads to me (and how I would read it), a touch of pity. And not because of how she was forced into a life she rejected. Not for what was done to her. But rather for what and who she is.”

You’ll note I am naming the major female figures in the Mrs. Hawking universe after the queens of England. We have Victoria and Mary already. Mrs. Hawking’s nemesis and opposite, then, is Elizabeth– one of the most powerful and brilliant of them all.

~~~

Day #27 – “The Difference Between Us”

VICTORIA: What is that soldier up to, do you think? Hanging about like that?

ELIZABETH: There must be something he wants.

VICTORIA: Such as?

ELIZABETH: Could be any number of things. He could be on some assignment. He could want something from the territorial governor. Or…

VICTORIA: Or what?

ELIZABETH: Or a wife.

VICTORIA: Surely you’re not serious.

ELIZABETH: History has shown men are known to acquire wives from time to time. It happens to all of us before long.

VICTORIA: I am not about to be acquired by anyone, I promise you that.

ELIZABETH: Is that so?

VICTORIA: You know me, Elizabeth. Do you think I could bear to be any man’s nursemaid?

ELIZABETH: I doubt you’ll have much of a choice, when your father decides it’s time.

VICTORIA: Ha! That would require the leftenant to lift his notice to me long enough to recall that I exist.

ELIZABETH: Unmarried daughters lying around are often just inconvenient enough to attract attention.

VICTORIA: Even if that does happen, you can be certain I shan’t go quietly.

ELIZABETH: Oh? And what are you doing to do?

VICTORIA: Whatever it takes!

ELIZABETH: That’s not the way the world works, Victoria.

VICTORIA: Then blast the world.

ELIZABETH: I don’t think it should be so simple.

VICTORIA: What choice do we have? Else to buckle under?

ELIZABETH: I don’t mean to buckle.

VICTORIA: What, then?

ELIZABETH: I mean to make my best advantage.

VICTORIA: I don’t understand.

ELIZABETH: Why fight against the current when you’ve no hope to change its course? Instead, why not ride it where you wish to go?

VICTORIA: Because there’s no such place that it could take me. Is that what you want? Is that enough for you?

ELIZABETH: There is the difference between us, dear. I will not drown myself to spite the water.

8/27/13

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“Why won’t you trust me?” — early draft of a confrontation from Vivat Regina

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Categories: character, development, scenes, themes, vivat regina, Tags: , , , ,

This is one of the earliest scenes I wrote for Vivat Regina, and it turned out to be a very crucial one. Bernie pointed out that, while Mary’s decision in this one is that yes, she would like to become a “new Mrs. Hawking” of sorts, Nathaniel’s is at least starting to reject his old desire to become like the Colonel. He idolized the Colonel his whole life, and it’s been a difficult thing for him to swallow how much pain his hero caused Mrs. Hawking. Him backing away from that, at least the parts of the Colonel that caused that pain, is a big step on his development toward becoming a true feminist. It’s a crucial part of being a good male ally. You can’t fix a problem before you admit you have it, and Nathaniel’s doing so demonstrates his very real desire to learn, and do better than before.

~~~

NATHANIEL:
Aunt Victoria— why won’t you trust me?

MRS. HAWKING:
Oh, do spare me, Nathaniel.

NATHANIEL:
No. No, you mustn’t put me off. I know I haven’t been the quickest study when it comes to this business of yours, but I’ve been giving it a serious go. I surely do mean to be of help to you, and by God, on occasion I even have. Isn’t that so?

MRS. HAWKING:
Yes. You have.

NATHANIEL:
Then… why won’t you let me on? Really let me on? Is it— is it because I’m a man?

MRS. HAWKING:
Nathaniel.

NATHANIEL:
Is it because I’m not clever enough? Do you think that once in a tough spot, I’ll lose my head and disappoint—

MRS. HAWKING:
You look so much like him!

(Pause.)

MRS. HAWKING:
Too damn much.

MARY:
Like whom? Do you mean— the Colonel?

NATHANIEL:
You never told me that. Others have, but not you.

(MARY looks to the portrait on the mantle.)

MARY:
I never noticed it.

MRS. HAWKING:
The years and the whiskers throw it off, but all the men in the family have that look. Your father, your uncle, and you. Your boy will have it too before long. Strong jaw, devil-may-care grin, handsome as the day is long. The sort of face to win anything a man could want in the world. But that was face I first looked into twenty years ago when a promising young soldier was first transferred to New Guinea and trammeled up my life forever. The same eyes from which I had to hide everything of any meaning to me so I might be permitted to have it.

NATHANIEL:
I don’t want you to feel that way about me. Not anymore.

MRS. HAWKING:
I know that, and not for nothing. But the years I lost and the pains I took…

NATHANIEL:
I know.

MRS. HAWKING:
Yes. Now you know. So it galls me, boy. I tell you, it galls me to look into those eyes and that face and give all the game away to them.

NATHANIEL:
I can’t help who I look like.

MRS. HAWKING:
No. But all the same, he’s in everything in you. His blood and his name and every effort in the world to be just like him.

NATHANIEL:
But… I’m not like him.

MRS. HAWKING:
To your eternal sorrow.

NATHANIEL:
Still. I’m not him. I can learn better.

(Pause.)

NATHANIEL:
And I mean to. But I’ll need you to teach me. I can’t do it without you.

(NATHANIEL draws himself up with a quiet, cold dignity.)

NATHANIEL:
Rather… none of us could. The Colonel neither. Because the God’s honest truth is you don’t know if he couldn’t have learned. You never gave him the chance.

(NATHANIEL turns and strides quickly from the room.)

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The art of names

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Categories: development, influences, Tags: , , , , , , , , , , , , , , ,

 

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I have to say, one of my favorite parts of the writing and character-creating process is coming up with names. I like it when I can make them subtly significant, if only in my own head, or at least give my characters names I’m going to enjoy saying over and over again.

I’ve written about how Mrs. Hawking’s name is supposed to be deliberately disassociated from her in-universe, but behind the scenes it was carefully chosen. Her married name, Hawking, came first, because it’s a good solid English name and conveys her bird-of-prey nature. It took much longer to choose her first name, but I went with Victoria because I’ve always loved it, the “victory” meaning connotes her warlike nature, and because of the connection with the regnant queen. Stanton, her maiden name, also took some time to determine, and was chosen mostly because I like the way it sounds.

The character of Mary Stone basically just walked into my mind and introduced herself by name. I love when that happens, it feels as if I’m writing about a real person. Thinking about it, I think there was some influence from the fact that she is in some ways a gender-swapped analogue to Dr. Watson, and Watson’s wife is named Mary. I think Mary’s name fits her so well I’m kind of sorry that her surname will change when she gets married. I have given some thought to who her eventual husband will be, and while I don’t want to mention anything about him yet, I chose his surname with the specific intention that I shouldn’t mind using it to refer to Mary. Her middle name, Frances, came from Frances Kimpel, my model for Mrs. Hawking. I very nearly made Mrs. Hawking’s middle name Charlotte, after Mary’s model Charlotte Oswald, but I didn’t think it sounded right with the rest of our hero’s name. I plan on paying tribute to Charlotte’s name in another way in the future, though.

When I noticed that both she and Mrs. Hawking were named after prominent English queens I decided I would continue on with that trend where appropriate. That’s where her eventual Moriarty, Elizabeth Frost, got her name from. I’m kind of sorry that Nathaniel’s wife Clara doesn’t fit the mold, but I think it fits her too much to change. Their daughter Beatrice doesn’t quite, as there is no English queen by that name, but it was the name of the youngest Victorian princess. Reggie, their son, is so called because of course Nathaniel would name his son after his hero.

As for Nathaniel himself, he is named after my friend Nat Budin. Not for any particular reason, except that I like both Nat and his name.

Stephanie Karol, who read the roles of Celeste Fairmont and Grace Monroe in the Mrs. Hawking Bare Bones reading, commented that I seem to like naming patriarchs “Reginald.” Both the Colonel and the head of the society family in The Tailor at Loring’s End both have it. I like the name, but it does have kind of an old-fashioned masculine sound to it.

Cedric Brockton sounds solidly British and upper-class, perhaps to the point of parody, but I like the way it sounds. Ambrose Hawking came from the same impulse. It might be a little absurd, but I guess I have a taste for names like that.

Gabriel Hawking came from the fact that Gabriel is one of my all-time favorite names. I wanted something powerful and striking, given that the mention of the name has a rather totemic quality when uttered in this story.

Justin’s first name came from something silly. I remember thinking that Ryan Kacani, the actor who played for Nathaniel at the Bare Bones reading, looked like a Justin to me for some reason. So I gave that name to Nathaniel’s brother.

Johanna Braun, the name the client gives in Vivat Regina, was chosen because it translates from German basically to “Joan Brown,” as plain and nondescript a name as they come. There is a reason I wanted it to be so generic, but I won’t say what it is here.

Arthur Swann, also a character introduced in Vivat Regina, is also named in the vein of English royalty, though King Arthur is fictional. Also it’s my granddad’s name and I always liked it.

There’s also a bit of a bird theme going on. The Hawking family, Arthur Swann the police man, Clara’s maiden name being Partridge. It doesn’t have any specific meaning, but the presence of a bird name means that they are a character to watch.

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