Tuesday, September 27, 2016

Naming Characters

   I used to struggle with naming my characters more than almost anything else. So many times I would have an idea, be writing out a bit of cool dialogue or description, and grind to a halt because I couldn't think of what to call my character. In that case, maybe the best course of action would have been to put a blank and move on. There's also the incredibly helpful babynames.com, and a name generator geared towards fantasy & scifi that covers towns, castles, inns, pirate ships, and so many other things. There are others, some that will generate entire character profiles plus a name, that name options have become almost limitless. Despite that, it can still be hard to think of a name that matches a character, or that sounds good, or that fits with your particular storyworld. These are a few thoughts on choosing and generating your own names.
    When I'm searching for the name of a character, real-world or not, I usually start by going to babynames.com and searching for names with a meaning that's related to the essence of the character, a nationality, and a beginning letter. The meaning is simply to narrow things down and provide names that could be cool Easter eggs just for my pleasure. The nationality is both for accuracy (if a character is Greek, she's not likely to have a Hawaiian name) and for the feeling of the name (Welsh, Scottish, and Russian names tend towards more harsh sounds and shorter names, while Spanish and French names are softer). Choosing a first letter might sound odd, but there is power to it. Start with W and English for the nationality, and you'll get names that tend toward Washington, William, Wolfgang, and Wellington. These have an air of aristocracy and snobbishness, which you can play up or turn on its head at your pleasure. Contrast that with names like Rob, Richard, or Ray, which in turn have a different feeling than Albert, Adam, or Archer. Try to find one with an air that feels right for your character.
    It comes down to syllables, consonants, and vowels. Simple character? Fewer syllables. Tough or mischievous character? Try names that start with consonants like "R" or "L" and have one or two syllables. Quiet, kind character? Try finding names that start with vowels or consonants such as "T" or "F."
    That doesn't even begin to cover the full scope of naming choices. Delving into different nationalities provides a range of options that can go from exotic to harsh to just plain weird. Names can contradict norms or fit a variety of characters. A character might be named something that completely contradicts his personality, either for comedic effect or to illustrate that his parents wanted a different kind of kid.
    But what if you're looking to name a blue-skinned teenage Martian princess? Patricia is hardly a viable option. But before you turn towards the alien name generator, you need to establish a few facts about her people's culture and language.
    Maybe worldbuilding isn't you're thing, but there are so many things that can enrich your world and affect your choices that you can't ignore it. You don't need to develop a whole language, but try and establish a feel for what it sounds like. That way, characters from the same culture won't end up with wildly different names (unless they're from different cultures, in which case it would be a good thing if there's some difference in their names). Also recall that the first name-surname format doesn't apply to all cultures at all times. For Japanese peasants in the 1600s, many only had a first name. It was the noble class who had surnames. The same in England, which is why we now have names like Tanner, Smith, and Cooper -- they were occupations, which got tacked on to certain people's name to tell them apart from others with the same name. Sometimes not even royalty had official surnames, just titles (Alexander the Great, Henry VIII).
    After you've done a little developing, it's a great help to turn back to babynames.com and search in languages that sound similar. In my fantasy novel, the warlike people from the north have names derived from Norwegian, Scandinavian, Russian, and similar languages, many of which were spoken once by real-world warlike people from the north. Those from more southern countries, where the MC originates, have names inspired by Hebrew, Welsh, and Scottish.
    If that's still too real-world, try altering names. William can become Tillian or Willam or Wulder. Or try just simple syllables. Rik. Tess. Buk. Sal. Swap out letters. Kevin becomes Kelin. Nathan becomes Naran.
    But with all these different options, there are four simple rules to follow when naming characters:
    1. Feeling comes before meaning. Nobody will know and few will care that Character A's obscure, confusing name has a special meaning related to his ancestral history of arms dealing. Unless it's specifically important to the story.
    2. Make sure it's easy to pronounce. Don't yanks your readers out of the story because they can't figure out if you pronounce Jealaraca with a silent "J" and a hard "C" or a French "J" and soft "C" or however many ways there are to pronounce it. Don't confuse!
    3. Start names with different letters, especially with recurring characters. A lot of people like to give their twins names with the same first letter. If your twins are the same gender and you want people to be able to tell them apart, don't do it. Nobody will know who's who. Same goes for non-twins, especially when you're making up names.
    And that's all I can cover in one post. Have a good week, and happy naming!

Wednesday, September 14, 2016

Description in Fantasy & SciFi

 
If you're like me, one of the most attractive things about scifi and fantasy are the opportunities to create entirely original cultures and languages. Making special titles for parents and grandparents, deciding what's the accepted method of apology, what simple actions are outrageous insults and what are flattering compliments is one of my favorite parts about writing and worldbuilding.
    But I encounter two problems when applying this, my favorite of activities: using unfamiliar concepts too much and coming up with names. We'll cover names in the next post.
    People read books to be fully immersed in a new world with new people, places, and experiences. It seems logical to try and cram the story with as many new and original concepts as possible. But that discounts the second part of the equation: readers are looking for new things... that are repackaging old things. "...there is no new thing under the sun" (Ecclesiasted 1:9). Beyond the fact that it's impossible to be entirely original, you can't dump people into a completely new world and expect them to follow the story. They'll be more concerned figuring out why it matters that grandma is wearing yellow instead of red, or why waving your little finger would get you yelled at, or what travalad forlic desh'rya means, than about your character and the problems she's going through. No, better to be telling a story about unfailing honor with just a little setting filled in than it is to have three pages describing Malu buying star-berries with every little detail described and explained.
    That last mistake is called infodumping. Dictionary.com defines it as an act or practice of presenting an indigestible or incomprehensible amount of information all at once. It's like reading an encyclopedia about this strange new world instead of experiencing it through the senses of the characters. It's like walking into a theater expecting to see and action movie and getting a documentary on nuclear physics instead. How many people would get up and walk out? It's the same if you infodump in the middle of the book, or at the end. Story comes first. Don't interrupt it.
    But what if there's some information the reader just needs to know to understand what's going on? Rule #1: don't stop the story. Rule #2: working large chunks of information in-between action means it's gonna get skipped. Rule #3: characters standing around chatting about something they already know and don't need to discuss is also stopping the story. 
So what do you do? 
    Some of the best examples I've seen of working info into stories is in action movies. Action movies only exist if the audience doesn't get bored, and that kind of audience has a very, very short attention span. Usually, there's an elaborate plan involved in the course of the story. The audience needs to know the plan so they're not entirely lost when everyone's suddenly split up and doing seemingly unrelated things. Often, they use a specific version of the "dumb puppet trick" (see here for the explanation), what I call "the briefing." Here are examples from Mission Impossible: Ghost Protocol and Star Wars: Return of the Jedi.




    We've learned all kinds of information. We know the plan, we know the character's opinions of the plan, we know additional information such as Lando's promotion and the fact that the computer array in going to be very, very hot. We don't necessarily need that information, but it enriches the story world and keeps us connected.
    This is only one kind of info-sharing, but it's all I can cover in one post. Try applying this principle to your stories and characters, in your books or just as a standalone scene.
    Next: coming up with those pesky character names when babynames.com doesn't help.
    Further reading: