What's in a name.

Choosing Names

I have recently been asked how on earth I choose names for all of my characters.  I don't think the person who asked that question realized how complicated the ensuing answer would be.  (Partly because most of my names are not on Earth anyway.)   The common perception is that choosing names for characters is something akin to parents choosing names for their children; they deliberate over it for months, lose sleep, toss and turn, repeat them aloud in the mirror, or even get downright fanatical.  In actuality, it has nothing to do with any of that.

Good writers like to pick original names for their characters.  Better writers recognize that there are different classes, or sounds, in names, and maintain this distinction amongst their characters to perpetuate a real and complex feel to the world they have created.  (All the characters from Country A have soft, flowing names, while all the characters from Country B have harsh names you can’t say without spitting.)

The other thing to take into account is appearance.  Since people will read the book, they will be looking at the name.  Especially when you’re making up names, it’s important that the name be aesthetically pleasing as well as pleasing to the ear.

Does that sound complicating?  If you answered yes, then you're probably not one of the lucky few who can perpetually generate original, striking, and endearing names.  Since that leaves the "like me" category, you might find some of the following methods useful. 

The language trick:

It has always been said that speaking another language has its advantages.  For example, Spanish speakers probably get a big kick out of calling people names in Spanish while on their vacation in Germany.  If you do know another language, or if you have access to Google Translator, then your life just became much simpler.  Think of a character, and then think of a word that fits him.  Find the translation of the word.  Maybe all of it, or a part of it will give you an idea or a sound.

The last step is to shake it up a little.  Once, when thinking of a name for a city built into a cliff, I got the Portuguese word pedra.  From this came the city Pedralia. 

The insert random letter into random spot trick:

This one was J.R.R. Tolken's favorite.  Contemplate, if you will, Sauron and Sarumon.  Or maybe Eowyn and Arwyn. Taking the liberty to "mess around" often proves that good names do come by happenstance.

The miss-spelling trick:

Sometimes you can get a classic name for a main character by preserving the sound of a common name, but by murdering the spelling.  It has often been said that good names should break at least three grammatical rules.  Cade could become Kaed.  Of the two, which would you put as the tuff guy? 

The mumble incoherently trick:

When all else fails, it is sometimes necessary to resort to muttering random variations of vowels and consonants under one’s breath.  Caution:  Do not do where other people can hear you.  This practice led many early writers to be burned at the stake for witchcraft when they weren't careful to isolate themselves.  One might say, "Orannor.  Thorannor.  Thoranic.  Oraneal.  Uranus…no, that's a planet.  Uriald.  Uru Ladron, the shopkeeper!  Excellent!"

The type unintelligibly trick:

This method consists of simply typing the biggest load of nonsense this side of Washington, DC.  (Make sure to use lots of vowels.)  Note:  This technique should only be used for heavy fantasy or sci-fi.

Slkkwidenelenaldidkneidnaleidkenidnelttaleentlshthantoraliegigneelddneedonien

Now, take it apart bit by bit.  The average person would see gibberish, but the open mind will see so much more of the same!

 Slkkwidenelenaldidkneidnaleidkenidnelttaleentlshthantoraliegigneeld

Skiden, Widen, Nelena, Denel, etc.

ldidkneidnaleidkenidnelttaleentlshthantoraliegigneelddneedoniendoeit

Aleen, Hthan, Shaleen, Leig, Donien, Toralie, etc.

The connotation trick:

The idea is to pick names that will remind people of similar words, this hotwiring their own emotions and personal associations.  Darth Vader, to me, reminds me of Dark, and Invader.  Luke Skywalker, on the other hand, makes me think of happy people dancing in the clouds.  Beyond that, it's just a cool sounding name!

The point of all this is that good characters need good names.  The right combination of the two will stick in people's minds and endear the characters to them throughout the ages; Harry Potter, Edward and Bella….

(Scratch the last two!  Harry Potter was good though.)  You know what I mean!

Dialogue Techniques - Issue One

"You don't know what the crap you're talking about!"
"Oh yeah? Well at least I can eat a meal without offending the emperor of a rival kingdom!"

Let's face it, dialogue is awesome. Simple interchanges can bespeak volumes into the story's history and its characters, their tension, progression, and shortcomings. It can develop a likable, memorable character, and transmit emotion perhaps better than any other single strand in the writer's loom.

But, how I you know when the dialogue is good? If it just lacks momentum what can be done to fix it and transform it into a fast-paced, character-building, envy-inspiring weapon of power? Don't get your hopes up. If I knew a surefire answer to that, it wouldn't be on this FREE blog.

However, there are definitely man roots branching off dialogue's tree. And, like a tree, it would be very tiring to try and dig up and examine all the roots at once. Today, let's look a classic pet peeve, tags. (i.e. "he said," "she said.") What are tags good for? They develop a consistent tone, and when done right, can avoid attention. Don't get me wrong, occasionally using a tag to describe a characters facial reaction, voice tone, or more importantly, sub-surface emotions, can be very effective. But, take the following example:

Example:  "I don't think anyone is coming through that door," John said.

Hmmm, you think, I want that to be a bit more humorous. Let's revise.

Humorous: "I don't think anyone is coming through that door," John laughed.

No, you say, I should have stuck with suspense!

Suspenseful: "I don't think anyone is coming through that door," John whispered, whitened knuckles gripping a crow-bar.

No, you say, I wasn't thinking radical enough! Romance!

Romantic: "I don't think anyone is coming through that door," John winked reassuringly.

If you want to go for a different tone in dialogue, try actually changing the DIALOGUE. You'll notice I varied the tag types. The “humorous” example indicates the way he said it, the “suspenseful” example indicates the manner he spoke as well as a follow up action to paint the scene more intricately, and the “romantic” example is a parallel verb—it doesn't have to do with the manner he spoke, but by the wink we are left to infer his tone of voice.

Did the mood change? It did. Did the scene it painted change? I believe it did.  But an entire book filled with unspecific dialogue and exciting, intricate tags can get burdensome. Give me another chance, and I'll try to redeem myself

Comedy: "How far do you think it'll throw him when he steps on the mat?" John asked.

Suspense: "Don't focus on just one point of entry," John said, "They won't use the doors."

Romance: ... (Yeah, I think I'll pass.)

Dialogue, in this manner, will not become as boring or as tedious. You'll notice I used nothing but the simplest tags. After writing dialogue that can stand for itself, feel free to spruce up the tags with taste and purpose.

Just for fun, I'll finish the first example.

“How far do you think it'll throw him when he steps on the mat?” John asked, grunting as he coiled the giant spring on his salesman-repelling device.

I'll just ask it: Who wouldn't like to meet John after that?