Story of Japan

Japanese History and Research for a Historical Novel

Category: Writing (page 1 of 2)

Women’s Voices from Heian Japan

The Heian Period

Peeking through the fence

Before the samurai, before geisha, before kimonos or bushido, there was a golden age of Japanese civilization. This period produced the finest literature in the history of Japan, and some would argue, the finest literature in the history of the world. This was the Heian period, an era spanning the years 784–1185 A.D. The thing that makes the Heian period particularly significant is that most of the really noteworthy literature, particularly Genji Monogatari, known as The Tale of Genji in English, was written by women.

In Heian Japan, the government was controlled by a hereditary bureaucracy located in the capital of Heian-Kyou (which gives the era its name), the city later renamed Kyoto. The bureaucracy was their aristocracy. It was a small, insular community estimated to comprise no more than 10,000 people, almost all of whom lived in or around the capital. To their minds, nothing outside the capital was important. Indeed, for hundreds of years, exile to the provinces was considered terrible punishment for a crime. Some preferred execution to having to leave the capital.

Their relentless parochialism led to such neglect of the governance of the areas of the country outside the capital that local warriors eventually rose up and displaced them as the masters of the country, leading to the government of the samurai more familiar to most of us.

Marriage and Family in the Heian period

Heian Japan was a polygamous society. The number of wives a man could have was determined by his rank, in fact, practically everything was determined by rank. Concubines were limited by what he could afford. While there were laws on the books prohibiting women from engaging in adultery, people tended to look the other way if she was discreet.

Aristocratic women in Heian Japan actually had many more rights and privileges than their daughters who lived under the later samurai governments. They had the right to own property, inherit in their own names, and to bequeath that property as they desired on their death. Furthermore, women were somewhat outside the extremely rigid rank structure that the men lived under so that a woman could sometimes marry up, gaining rank and status for her children. The opposite situation was extremely rare, where a man married a woman of a substantially higher social class.

Marriage Politics

This opportunity for women to improve their social status culminated in the practice of “marriage politics” where families would groom their daughters to catch the eye of a highly-placed nobleman and hopefully induce him to make her a wife or concubine. The best way to provide that opportunity was to have a girl serve at the imperial court as a lady-in-waiting. The imperial households employed an enormous number of low-ranking noblewomen to wait on the imperial family, particularly the wives of the Emperor. The most powerful men in the nation, as well as countless lesser nobles looking to better themselves, congregated at the court. There was ample opportunity for a woman to meet and attract a suitable mate. The competition for the positions at court was intense, and the successful applicants usually had strong family backing, often relying on relatives highly placed in the government to push their names to the Emperor along with the beauty and accomplishments of the women themselves.

Family connections were key to the advancement and success of a man. Without strong family support, careers languished and promotions were few and far between. Much of the support came from the mother’s and wife’s family. When a man got married, he would usually move into the house of his wife’s parents. He might rotate residency among the residences of his various wives, but his children lived with and were raised by their mother. This meant that the support of the mother’s family was of paramount importance in the success of the children. Unlike many societies, there was no real concept of “illegitimacy”–if a nobleman acknowledged a child, then it didn’t matter the circumstances of the child’s birth. All acknowledge children were generally treated equally. In noble households, higher-ranking wives would often adopt the children of lower-placed concubines in order to ensure proper education and familial backing for them.

Women behind curtains

A Woman’s Life

Relations between men and women were strictly regimented. When speaking with males other than her immediate family, a woman was expected to ensconce herself behind portable screens or curtains. In the romances of the times, a common trope is for a man to catch an unexpected glimpse of a woman’s arm or hair and become immediately entranced with her. Fashionable women wore layers and layers of clothes, chosen to showcase their good taste by the selection of colors. One estimate places the weight of full formal court robes at about forty pounds. Women mostly stayed indoors at their residences, only venturing out for pilgrimages to local temples and other religious purposes.

We know a surprising amount about the life of upper-class women in the Heian era because the diaries that many of them kept, some of which have survived into the present day. One of the most compelling diaries of the time, Kagerou Nikki (translated as Gossamer Diary by Edward Seidensticker) tells the heartbreaking story of a woman afflicted by depression and bouts of self-loathing as she lays bare all the thoughts and angry feelings she harbored towards her wayward husband. She speaks freely of boredom and frustration of waiting in her house interacting only with family and servants. It was the only social contact she was allowed with the outside world other than writing letters and visiting Buddhist monasteries. The most exciting thing in her life was the visits from her husband. But he often sent word that he was going to come and then would fail to show up, something that frustrated her to no end. In the end, he stopped visiting and sending presents, the Heian equivalent of a divorce.

We will probably never know for sure, but many experts believe that it was the time hanging heavily on the hands of the upperclass women of Heian Japan that led them to write so much in diaries and poems. The most famous example of a memoir from this period is called Makura no Soushi or The Pillow Book. It was written by a court lady we know as Sei Shonagon. It is not so much a diary, as a compilation of thoughts and stories. She had a biting wit with a keen eye for human foible. She gives a remarkably clear picture of what life was like at the imperial court in her time. For example, she tells us:

I really can’t understand people who get angry when they hear gossip about others. How can you not discuss other people? Apart from your own concerns, what can be more beguiling to talk about and criticize than other people? But, sadly, it seems it’s wrong to discuss others, not to mention the fact that the person who’s talked about can get to hear of it and be outraged.

Murasaki writing Tale of Genji

A contemporary of Sei Shonagon was named Murasaki Shikibu. She also wrote a diary, but that is not what she is best known for. She was the author of Genji Monogatari, the world’s first novel. Murasaki seems to have been the first person in either Japan or the world to have the idea of telling a story, but doing so in a way that the action, the people, and the setting were all “realistic.” Her characters are finely drawn, with motivations and aspirations that are clear even to us peering back through the barrier of a completely different language, a thousand years, and an alien culture. From her we read the Heian ideal of a man, Prince Genji. He was handsome, clever, and sensitive. He excelled at the arts of calligraphy, perfume making, and poetry. He was so attractive few women denied him, and those that did, he generally took anyway. The book follows him through his many affairs.

The women of Heian Japan left us a rich and enduring legacy of their thoughts, their feelings, and their lives through the medium of their writing, both autobiographical journals and diaries and fictional works such as Tosa Nikki and Genji Monogatari. It was a legacy that would rarely be equaled, and never surpassed, in the history of Japan.

Larry Correia: Writing Class–Week 3

How to Make A Living As A Professional Fiction Writer

Larry Correia: Writing Class–Week 3

So, here is the third installment of the notes for the class Larry gave at Weber State University at the end of May. There is one more part to go, and the length of time it will take to get up is dependent on a number of indefinable elements, the most important of which is “When will he get up off his ass and do something?” As before, I have placed links to the various portions of the lecture to help you navigate more easily. Have fun and hopefully, this will help you become a better writer.

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Larry Correia: Writing Class–Week 2

How to Make A Living as a Professional Fiction Writer

Larry Correia: Writing Class–Week 2

Yes, I know, it has been months since I put the first one up, but real life has a tendency to get in the way of one’s plans. It will be nothing like this long until I get the third one up, I have the transcription finished and just need to convert it to HTML. With luck, it will be up later today. The final one may take a bit longer, I have some deadlines for my book and some commitments on an iOS program I am working on. With luck, however, it shouldn’t take more than a week. To help navigate this very long document, I have added links to all the sections at the top. Hopefully this will have been worth the wait.

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New Kindle Direct Payment Policy

New Kindle Direct Payment Policy

Amazon had announced a new method for determining payments to authors in the Kindle Unlimited (KU) and Kindle Owners’ Lending Library (KOLL) programs. Previously the authors were getting paid when their book was borrowed and at least 10% was read. Once the book was partially read, the author got a share of the total pool paid to authors that month. It didn’t matter if the book was 10 pages long or 500, the author got the same amount for each borrow. Naturally this led to a lot of short stories and serialized books.

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The Seven Point System

The Seven Point System:

Dan Wells on Story Structure

One day Alice came to a fork in the road and saw a Cheshire cat in a tree. “Which road do I take?” she asked.
“Where do you want to go?” was his response.
“I don’t know,” Alice answered.
“Then,” said the cat, “it doesn’t matter.”

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Larry Correia: Writing Class–Week 1, part 2 of 2

How to Make A Living as a Professional Fiction Writer

Larry Correia: Writing Class–Week 1, part 2 of 2

Writing as Business

There is nothing wrong with things being rejected, but traditional publishing has gatekeepers and literary agents have their own standards. The funny thing is that there are bunches of literary agents that would love to be Larry’s agent, that would be a nice income stream for them, but they all rejected him. All a rejection means is that the educated guess of the publisher is that they can’t make any money on the product. There are lots of biases, political, incorrect beliefs, and other stuff go into these decisions. JKRowling, who owns Britain and recently bought Scotland as a guest house, was rejected everywhere. There was not a lot of interest in her stuff from British publishers, but in the USA, she got into the Scholastic flier and then things went completely crazy and she caught on everywhere. Continue reading

Larry Correia: Writing Class–Week 1, Part 1 of 2

How to Make A Living As A Professional Fiction Writer

Larry Correia: Writing Class-–Week 1, part 1 of 2

Welcome. I am your host for this report of Larry Correia’s Creative Writing class taught at Weber State University How to Make a Living as a Professional Fiction Writer. He kindly agreed to allow me to put this together and put it here on my site. This presentation is based on the notes I took during his lecture last night. I have tried to keep as much of the spirit of his discussion as possible, while occasionally adding my own interlocutions. I have taken the liberty of rearranging some of his comments to more closely adhere to the structure of his class. So, this is not a direct transcription of the class, but massaged for understanding.

One Easy Trick To Become A Professional Writer

People are looking for the secret to become a successful novelist. Among those who attempt a professional writing career, there is a 99.999% failure rate. However, the mere fact that you are trying to get better at your craft puts you ahead of the game. That being said, there is one easy trick to becoming a professional writer:

  1. Get good enough that people will give you money for your writing.
  2. Find those people to give you their money.

The steps are simple, but the devil is in the details. Continue reading

How to make no money and lose your mind, lesson two

This writing stuff is much harder than we realized. David found this writing site called Scribophile. It is a web site for writers where people look at your work and critique it and you do the same for them. After arriving there and showing off our shiny new novel, we learned we used the ‘passive voice’ too much and were overly fond of adverbs. Who knew? Now, it has been mumble-mumble years since I took an English class, but I wasn’t even sure what a passive voice was, and I certainly didn’t know that adverbs were bad words. My mother had a different list of forbidden words.

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Publishing Links

At some point in time we are going to finish this book.  Then what do we do?

I am going to keep track on interesting links on publishing here.

Amazon’s new ranking system:

http://madgeniusclub.com/2015/02/22/velocity-and-trajectory/

Plotting Links

 

You would think the hardest part of a novel is coming up with a plot.  It isn’t.  Anyone can come up with a plot.  We have at least three or four in one novel and keep coming up with more.  The hard part is coming up with a comprehensible plot. To keep the action rising without wandering down side streets into nowhere.  The following are a couple of websites we have used to try to make sense of our plots.

The Plotting Matrix or Rubik’s Cube:

The method described in this post in an interesting one.  It used a box with nine squares to make you think about your plot points and how they are related. I find it very helpful in forcing some organization in the novel.

Beat Sheet for Novels

Take a look at the downloadable spreadsheet on this website. While this is based on how movies are plotted, I find it useful to give us some idea of what should be seen in a novel, but more important, how far in it should happen.  For example, in a hypothetical 80,000 word novel, the “catalyst” scene should occur at about 8,800 words in.  While I certainly don’t intend to consider these guidelines as hard and fast rules, it does give us some ideas of where the novel might be lagging.


http://csidemedia.com/gryphonclerks/2012/12/16/dan-wells-seven-point-story-structure/

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